
Class "PS C55 ^5 
BookXjSJlIS 



COF£RIGHT DEPOSm 



IHE THIRTEENTH CHAIR 



Jy BAYARD VEILLER 




SAMUEL FRENCH, 28-30 West 38th St., New York 



THE REJUVENATION OF AUNT MARY. 

The famous comedy in three acts, by Anne Warner. 7 males, 6 
females. Three interior scenes. Costumes modern. Plays 2Ji hours. 

This is a genuinely funny comedy with splendid parts for "Aunt 
Mary," "Jack," her lively nephew; "Lucinda," a New England an- 
cient maid of all work; "^[ack's" three chums; the Girl "Jack" loves; 
"Joshua," Aunt Mary's hired man, etc. 

"Aunt Mary" was played by May Robson in New York and on tour 
for over two years, and it is sure to be a big success wherever pro- 
duced. Wc strongly recommend it. Price, 60 Cents. 



MRS. BUMSTEAD-LEIGH. 

A pleasing comedy, in three acts, by Harry James Smith, author of 
"The Tailor-Made Man." 6 males, 6 females. One interior scene. 
Costumes modem. Plays 2^ hours. 

Mr. Smith chose for his Initial comedy the complications arising 
from the endeavors of a social climber to land heraelf in the altitude 
peopled by hyphenated names — a theme permitting innumerable com- 
plications, according to the spirit of the writer. 

This most successful comedy was toured for several seasons by Mrs. 
Fiske with enormous success. Price, 60 Cents. 



MRS. TEMPLE'S TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and WH- 
liam Morris. 5 males, 4 females. One interior scene stands through- 
out the three acts. Costumes modern. Plays 2J4 hours. 

"Mrs. Temple's Telegram" is a sprightly farce in which there is 
an abundance of fun without any taint of impropriety or any ©le- 
nient of offence. As noticed by Sir Walter Scott, "Oh, what a 
tangled web we weave when first we practice to deceive." 

There is not a dull moment in the entire farce,- and from the time 
the curtain- rises until it makes the final drop the fun is fast and 
furious. A very exceptional farce. Price, 60 Cents. 



THE NEW CO-ED. 

A comedy in four acts, by Marie Doran, author of "Tempest and 
Sunshine," etc. Characters, 4 males, 7 females, though any number 
•{ boys and girls can be introduced in the action of the play. One 
interior and one exterior scene, but can be easily played in one inte- 
rior scene. Costumes modern. Time, about 2 hours. 

The theme of this play is the coming of a new student to the col- 
lege, her reception by the scholars, her trials and final triumph. 

There are three especially good girls' parts, Letty, Madge and 
Estelle, but the others have plenty to do. "Punch" Doolittle and 
George Washington Watts, a gentleman of color, are two particularly 
good comedy characters. We can strongly recommend "The New 
Co-Ed" to high schools and amateurs. Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street. New York City 

New and Explicit Descriprivi Catalosue Mailed Free sa RmhmiI 



/ 



THE THIRTEENTH 
CHAIR 

A PLAY IN THREE ACTS 



BY 
BAYARD VEILLER 



Copyright, 1916, by Bayard Veiller 
Copyright, 1922, by Samuel French 



All Rights Reserved 



CAUTION : Professionals and amateurts are hereby warned 
that "THE THIRTEENTH CHAIR," being fully pro- 
tected under the copyright laws of the United States, 
Great Britain and Canada, is subject to a royalty, and 
any one presenting the play without the consent of the 
author or his authorized agents will be liable to the pen- 
alties by law provided. Applications for the amateur 
acting rights must be made to Samuel French, 28-30 
West 38th Street, New York. 



New York 

SAMUEL FRENCH 

Publisher 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 



28-30 West 38th Street | STRAND, W. C 2 






-Zk- 



Especial notice should be taken that the possession of 
this book without a valid contract for production first 
having been obtained from the publisher, confers no right 
or license to professionals or amateurs to produce the play 
publicly or in private, for gain or charity. 

In its present form this play is dedicated to the reading 
public only, and no performance, representation, produc- 
tion, recitation, or public reading may be given except by 
special arrangement with Samuel French, 28-30 West 38th 
Street, New York. 

This play may be presented by amateurs upon payment 
of a royalty of Twenty-Five Dollars for each perform- 
ance, payable to Samael French, 28-30 West 38th Street, 
New York, one week before the date when the play is 
given. 

Whenever the play is produced the following notice must 
appear on all programs, printing and advertising for the 
play: "Produced by special arrangement with Samuel 
French of New York." 

Attention is called to the penaltj'- provided by law for 
any infringement of the author's rights, as follows : 

"Section 4966 : — Any person publicly performing or rep- 
resenting any dramatic or musical com.position for which 
copyright has been obtained, without the consent of the 
proprietor of said dramatic or musical composition, or his 
heirs and assigns, shall be liable for damages thereof, 
such damages, in all cases to be assessed at such sum, not 
less than one hundred dollars for the first and fifty dol- 
lars for every subsequent performance, as to the court 
shall appear to be just. If the unlawful performance and 
representation be wilful and for profit, such person or 
persons shall be guilty of a misdemeanor, and upon con- 
viction shall be imprisoned for a period not exceeding one 
year."— U. S. Revised Statutes: Title 60, Chap. 3. 



CLD (317:1,' 

AUG 28 1922 



-w $ 



"The Thirteenth Chair" was produced by William 
Harris, Jr., at the 48th Street Theatre, New York, 
on November 20, 1916, with the following cast: 

Helen O'Neill Katherine La Salle 

Will Crosby Calvin Thomas 

Mrs. Crosby Martha Mayo 

RoscoE Crosby Gardner Crane 

Edward Wales S. K. Walker 

Mary Eastwood Eva Condon 

Helen Trent Sarah Whitford 

Grace Standish Rose Aiken 

Braddish Trent Charles Lait 

Howard Standish Walter Lewis 

Philip Mason George Graham 

Elizabeth Erskine Alice Claire Elliott 

Pollock A. J. Hendon 

Rosalie La Grange .Margaret Wycherly 

Tim Donahue Harrison Hunter 

Sergeant Dunn Walter Young 

Doolan Wm. Scott 



THE THIRTEENTH CHAIR 

THE CAST 

Helen O'Neill. 

Will Crosby. 

Mrs. Crosby. 

RoscoE Crosby. 

Edward Wales. 

Mary Eastwood. 

Helen Trent. 

Braddish Trent. 

Howard Standish. 

Philip Mason. 

Elizabeth Erskine. 

Grace Standish. 

Pollock. 

Madame Rosalie La Grange. 

Tim Donohue. 

Sergeant Dunn. 



Doolan. 



ACT I 



The Italian Room in Roscoe Crosby's House. 
Time: Evening. 

ACT II 
Same scene. Ten minutes later. 

ACT III 
Same scene. A half an hour later. 



THE THIRTEENTH 
CHAIR 



ACT I 

Scene: Italian Room in Roscoe Crosby's Home. 
A handsomely furnished square room, door 
opening on stage down l. Door opening on 
stage at back l.c. Large fireplace c. at back. 
Door opening on stage R.c. 

NOTE: Fireplace — antique firedogs — must 
be large enough for men to make entrance com- 
ing down through chimney. Large window over 
R. in arch. Platform one step high running full 
length of windoiv, which is three sashes long. 
Trick blind on c. pane. Curtains on pole on 
c. windows to work on cue. Up c. in front of 
fireplace facing up stage, large Chesterfield sofa 
two feet wide. Facing audience another large 
Chesterfield sofa, c, sofas setting back to back. 
At each end of sofas small console table. Con- 
sole table at r. end of sofa is the trick table 
which Rosalie lifts, r. of the door, r.c, large 
antique Italian chest, l. of door, l.c, large an- 
5 



THE THIRTEENTH CHAIR 

tique chest. Vases on chests. On flat over L., 
large tapestry. Against zvall over l., running 
up and down stage, long ornate Italian chest. 
At either end of this chest Italian lamps, seven 
feet high, standing on floor. On console* tables 
at either end of sofa, table lamps. On console 
table L. end of sofa, fancy cigarettes, box zmth 
cigarettes and matchbox and ash tray, and be- 
low door down l., on flat, an antique clock. 
Below door down l., armchair, l. side of fire- 
place chair with cushion seat. On mantel two 
large antique vases, r. side of fireplace with 
cushion seat. l. side, belozv console table, large 
armchair. Over R. is a large library table sit- 
ting diagonally up and dozvn stage. On table: 
book rack with four books, desk pad, stationery 
holder zvith stationery, pens, pencils, ink box, 
magazines, armchair back of table, chair below 
table, chair above table. On platform in win- 
dozv arch, long seat. Below zvindow arch large 
armchair. Large wall lanterns, on up stage, and 
down stage, end of zvindozv arch. Plush Val- 
ence or drapery for zmndows. Rugs on ground 
cloth. On flat r. of doors up R.c. small-sized, 
painted image of the Virgin. Interior backing 
for door down l., up l.c. and r.c. Fireplace 
backing. Exterior backing for window over R. 
Off stage down L., run on floor, large Italian 
table with tzvo bronze vases, and a shrine of the 
Virgin on it. Off stage R.c. are eight small 
chairs, to be brought on stage on cue during 
first act. In ceiling, directly over table r., is a 
double slot to hold knives. During first act, 
after Will puts out table lamp, after Miss 
Eastwood^s scream, the knife, in dozvn stage 
slot, is let dozvn in sight of audience. Seen zvith 
point sticking in ceiling. Between second and 



THE THIRTEENTH CHAIR 7 

tJ'iird acts, the knife that falls on cue, during 
third act, is placed up stage slot in ceiling, with 
point downwards. Setting the knife down in 
view of audience in first act, as well as releas- 
ing the second knife so that it falls, and sticks 
in table during third act, is worked by strings 
off stage r. 

(As the curtain rises Miss Helen O'Neill and 
William Crosby are discovered standing r.c. 
They are in each other's arms, and the rising 
curtain discloses them as they kiss. Window- 
shade down.) 



Helen. I love you so. 

William. You are the most wonderful thing In 
all the world. (She gives a little laugh and moves 
away from him a step r.) 

Helen. I can't believe it. 

Will. That I love you ? 

Helen. Oh, no, I'm sure of that. 

Will. If there's any doubt in your mind, I'll 
prove it again. 

Helen. They'll see us. (He takes her in his 
arms again and kisses her. She laughs happily. 
And then, turning a little, stands zvith her cheek 
pressed against his) Oh, my dear, my dear. 

("Mrs. Crosby, a fashionably dressed and extremely 
attractive zuoman, enters from door down left, 
closes door. She stops for a moment, and 
watches the lovers and then zvith a little laugh 
comes toward them. Mrs. Crosby is fifty-five 
and looks ten years younger, she has charm, 
beauty and kindliness, and is as far removed 



8 THE THIRTEENTH CHAIR 

from the typical stage mother, as it is possible 
for the management to picture.) 

Mrs. Crosby. (Coming to c. a step — Will 
breaks a step) Don't move, you look so comfort- 
able! (They start apart) Well, are you happy? 
(To R.c. Will pats Mrs. Crosby on arm.) 

Will. Oh, Mother! 

Helen. Happy ! 

("Mrs. Crosby crosses to Helen, pats her hand and 
stands between Will and Helen, r.c.j 

Will. Shall we tell 'em all ? 

Mrs. Crosby Tell them? (She laughs) What 
do you think they are? Blind and deaf? It's been 
a perfectly wonderful dinner. You were so blind 
to everything but each other. Oh, Billy, I thought 
your father would have a fit. 

Helen. I thought he had an awful cold, he was 
coughing terribly. 

Mrs. Crosby. Coughing? He nearly strangled, 
to keep from laughing. I told him I'd send him 
from the table if he laughed at you. 

Will. Why, you never spoke to him once. 

Mrs. Crosby. (Between Helen and Will, c.) 

Child, explain to him that wives don't have to 

Oh, I forget you haven't learned that yet. You 
know, Billy, I can talk to your father very effec- 
tively without words. (Cross below table R.) 

Helen. (Turning to Mrs. CrosbyJ Mrs. Cros- 
by 

Will. Mother, Nell's all fussed up because we've 
got money. She thinks you'll think — I'm — what in 
novels they call marrying beneath m.e. (He and 
Mrs. Crosby laugh. Nell looks a little hurt.) 

Helen. Well, he is. 

Mrs. Crosby. Nonsense, child, don't be silly. 
(Sits dozvn stage end of table.) 

Helen. (To Mrs. Crosby a step) It's not silly. 



THE THIRTEENTH CHAIR 9 

Mrs. Crosby. Everyone will say it, and they'll be 
right. 

Will. Let's settle this thing now once and for 
all, then. In the first place it's all nonsense and in 
the second it isn't true 

Helen. Oh, yes it is. 

Mrs. Crosby. Oh, the first row! I'll settle this 
one. Nelly ! 

Will. Now then, Nell, out with it, get it all out 
of your system. 

Helen. (Xes to table R. a step) In the first 
place; it's the money. 

Mrs. Crosby. (Seated below table r.) Yes, but 
—Helen 

Helen. Please, let me say it all. You have so- 
cial position, great wealth, charming friends, every- 
thing that m.akes life worth Oh, what's the 

use ? You know as well as I do the great difference 
between us, and 

Mrs. Crosby. My dear child, suppose we admit 
all that, what then? 

Helen. But don't you see 

Will. (Embracing her in front of table R.) You 
little idiot ! I don't see anything but you. 

Mrs. Crosby. That's the whole of it, children. 
You love each other, suppose you listen to an old 
woman. 

Will. Old! Huh! 

Mrs. Crosby. (Seated at table r.) Well, old 
enough. Well, if Billy was the usual rich man's 
son, it might be different. There might be some- 
thing in what you say. But, thank God, he isn't. 
Mind you, I don't say he wasn't like most of them 
when he was younger. I dare say he was. I know 
he went to supper with a chorus girl once. 

Will. Twice. 

Helen. What was she like? 

Will. Like a chorus girl. 



10 THE THIRTEENTH CHAIR 

Mrs. Crosby. The trouble with you, my dear, is 
that you've been reading novels. When Billy's 
father married me, I was a school teacher, and he 
was a clerk. We didn't have any money, but we 
were awfully in love — we still rather like each other. 
Now, just for the sake of argument. Suppose we 
should have acted like stern parents, what would be 
the use? Billy's in business for himself, he's mak- 
ing his own money, he can marry when he wants to 
and as he wants to, and if you want my real opinion, 
I don't mind confessing that I think he's pretty lucky 
to get you. 

Will. There! 

Helen. (In front of table r.J But you know 
so little about me. 

Will. Oh, rot. 

Mrs. Crosby. Thank you, Billy, I was trying to 
think of an effective word. (To Will. To HelenJ 
You've been my private secretary for over a year, 
and no matter how much my looks belie it, I'm not 
a bit of a fool. I know a great deal about you. 

Helen. My family 

Will, (c.) I'm not marrying your family! 

Helen. I'm afraid you are. 

Will. Oh ! 

Helen. There's only mother. 

Mrs. Crosby. (Contritely, rises to Helen in 
front of table R.J Oh, my dear, forgive me. Your 
mother should have been here to-inght. 

Helen. No, my mother — Mrs. Crosby — mother 
doesn't go out — she'd be unhappy here, and you'd be 
uncomfortable if she came. You'll find her trying 
sometimes, you'll think she's common. Oh, don't 
misunderstand me. She's the most wonderful 
mother in the world. And she's 

Mrs. Crosby. Suppose, my dear, that we take 

your mother for granted (Cross between Will 

and Helen J Take us as you find us and we will 



I 



THE THIRTEENTH CHAIR ii 

try to be happy. (Enter Crosby from door l. He 
is a fine-looking man of about sixty, with a pleasant 
personality, a good deal of charm and that masterful 
self-possession zvhich sometimes marks the man of 
affairs. It is always evident that the most delight- 
ful intimacy exists befzveen himself and his wife) 
Well, Roscoe? 

Crosby. (Cross to l.c. — takes Helen, who 
crosses to Crosby, in his arms) Welcome, my dear. 

Helen. Oh, Mr. Crosby— I 

Crosby. (Placing Helen l. of him with arms 
still around her — reaching his other hand to Willj 
Bill, shake ! (Father and son shake hands. Crosby 
looks at his wife and they laugh gently) Shall I 
tell 'em? 

Mrs. Crosby. (Standing in front of table over 
R.) I would. 

Will. (^r.c.J Tell us what? 

Crosby, (c.) You did this just in time. To- 
morrow I was going to forbid you to have anything 
more to do with this young woman. 

Helen, (l. of Crosby) You see! 

Will. What for? 

Crosby. Your mother and I felt that you were 
pretty slow with your love-making. 

Will. Oh, Mother! 

Crosby. (Continuing) And I know darned well 
that if I interfered, you'd take the girl out and 
marry her. 

Helen. Oh ! 

Will. You old schemer. 

Crosby. (Crossing over r.c. below Mrs. CrosbyJ 
I bet it would have worked. 

Will. (As Crosby crosses right, Will slaps 
him on the back) It would. (Cross back of Helen 

to L.C.J 

(Door down L. opens and Edward Wales enters.) 



12 THE THIRTEENTH CHAIR 

Wales. I came ahead of the others to tell 
you 

Crosby. Why, Ned, old man, you came just in 
time to congratulate them. (He points tozvard Will 
and Helen.j 

Wales. On what? ("l.c.j 

Mrs. Crosby. They're going to be married ; isn't 
it fine? 

Wales. Oh ! (There is a long pause.) 

Will. You haven't congratulated us, Mr. Wales. 

Wales. No, Will, I haven't. Tm not sure that 
I can. (Down stage a step.) 

Crosby. Why, Ned! 

Will. I'm afraid that calls for an explanation, 
sir. 

Wales. Yes, I expect that it does. (There is a 
long pause.) 

Will. Well? 

Wales. I'm sorry, but I can't explain anything 
until to-morrow. 

Mrs. Crosby. But really, Mr. Wales, don't you 
think 

Wales. I think my action is almost indefen- 
sible. I'm admitting that. But I have very good 
reasons for what I am doing. (He turns to Crosby j 
Roscoe, I've been your close friend for a great many 
years. You've trusted me, believed in me. I'm going 
to ask you to wait. After all, twenty-four hours 
can't make any difference, and it may save you all 
a great deal of unhappiness. 

Will. (Coming to Wales a step) Why, this is 
intolerable. 

Crosby. Ned, I can't understand 

Will. Father, this is my affair. 

Wales. I'm sorry. 

Will. Sorry? I should think you would be. 

Helen. Billy, I told you what would happen. 



THE THIRTEENTH CHAIR 13 

Mr. Wales, I don't know what you have discovered, 
but it's nothing of which I am ashamed, nothing. 

Will. Dear, you mustn't mind what he says. 

Helen. (In front of Will — crossscs to Wales 
a fezv steps) Oh, but I do, I can't bear it. Why, 
my mother is the most wonderful woman in the 
world. I won't have her attacked. Do you know 
what she did? When I was ten years old she sent 
me away from her. I was the one thing she had in 
the world to love and she gave me up because she 
thought — because she thought it was the best thing 
she could do for me. I was sent to a fine school, 
then to college, and then when I was nineteen, quite 
by accident I found out that she wasn't dead, as 
they'd always told me, and when I went to her all 
she said was, "Well, my dear, I wanted to make a 
lady of you." (Crosses to Will — c. — He takes her 
in his arms, then Helen crosses to r. of him.) 

Mrs. Crosby. (In front of table R.J I think she 
succeeded, my child. 

Wales, f l.c.J Miss O'Neill, I didn't even know 
that you had a mother. 

Will, (c.) Then you'd better tell us now what 
ever your objection is. 

Wales. I can tell you nothing until to-morrow. 
(He turns to Willj Billy, I'd rather be shot than 
do what I'm doing. If I'm wrong I'll come to you 
gladly and eat dirt. I'll beg this young lady's par- 
don on my knees if she likes. (Voices and laughter 
heard down L.j Now that's all I'm going to say 
about it until then. (Crosses up l. j 

(The door at l. opens. — Eastwood, Helen Trent, 
Miss Erskine, Miss Standish, Standish, 
Mason, enter laughing and talking.) 

Eastwood. (At l.c. To crowd in doorzvay) 
And he said whose wife? (All* laugh.) 



14 THE THIRTEENTH CHAIR 

Will. (c. — Helen in front of table R.j Qui«t, 
quiet, everybody, Tve got a surprise for you. (Peo- 
ple at door ad lib. laugh and buzz) Nellie and I are 
going to be married. 

('Girls rush up c. arid congratulate Helen — Men 
and Will go to l.c. ad lib., business congratu- 
lating him.) 

Miss Eastwood. (Coming to Will, c.) If you 
hadn't been engaged to her, she could have you ar- 
rested for the way you made eyes at her at dinner, 
Billy. But, of course, if people will marry — 

why (She turns away r. from them) I hope 

you will be awfully happy. (Crosses to Mr. and 
Mrs. Crosby dozim R.j 

Miss Erskine. (Coming to WillJ Isn't it beau- 
tiful? (Crosses to l. — to settee.) 

Mrs. Trent. (Crosses to Will, kissing him) 
I'm glad, Billy, glad. (Cross to Standish, come 
down L. — and Trent over l. — Miss Standish 
cross to front of table R. Will and Helen look 
around — see that no one is paying attention to them 
— Will sneaks up to door r.c. — opens it — he and 
Helen exit door r.c. quickly. Mrs. Crosby, Mr. 
Crosby, Eastwood, in front of table over r. Trent, 
Standish, Mrs. Trent, Mason talking together 
over L. Wales up l. Ad lib conversation until 
Miss Eastwood speaks.) 

Miss Eastwood. (To Mrs. Crosbyj Marriage is 
such an awful gamble. I know a girl who tried it 

four times. Billy, I hope you (Turning to c.) 

Why, they are gone. 

(Ad lib laughter of buzz and conversation. Miss 
Eastwood runs up to door r.c, opens it — looks 
in dining-room — gives a scream — closes door 
quickly, comes dozvn to R. end of settee. Trent, 



THE THIRTEENTH CHAIR 15 

to console fable l. of settee, gets cigarette, lights 
it. Crosses to c. back of settee in front of fire- 
place. Standish and Mrs. Trent to table l. 
of settee. Wales and Erskine sit on settee 
facing audience up c. Mrs. Crosby — at upper 
end of table r. Crosby seated r. end of settee, 
facing audience up c. — Mason l. end of settee, 
faces audience c. Enter Butler from dozvn l.) 

Butler. Mrs. Crosby, the person you sent the 
car for has arrived. 

("All turn eagerly tozvard the door l.) 

Wales (Rises — goes to front of armchair i^.c.) 
Can we see her now, Mrs. Crosby? 

Mrs. Crosby. Certainly — Pollock, ask Madame 
La Grange if she will come in, please. 

Butler. Yes, Madame. (He exits and closes 
the door after him.) 

Miss Eastwood. (Coming between table and 
settee R.c. j Fm perfectly thrilled. Do you suppose 
she expects to be taken seriously? 

Miss Erskine. Of course. 

Miss Eastwood. (At table r.^ How funny ! If 
you don't laugh at her, we can have no end of fun. 
I'll guy her terribly and she'll never know it in the 
world. 

Mrs. Crosby. (At table r.J Oh, I wouldn't do 
that, Mary. She may be quite in earnest. 

Miss Eastwood. Oh, I can't believe that. 
Madame La Grange ! I can see her now. Tall, black- 
haired creature, regular adventuress, see if she isn't. 
Isn't she, Mr. Wales ? 

Wales. (In front of settee) She's the most re- 
markable woman I have ever known. 

(Enter Butler from door l., coming well on stage.) 



i6 THE THIRTEENTH CHAIR 

Butler. Madame La Grange. 

(Enter Madame Rosalie La Grange. She is a lit- 
tle Irish woman of about fifty, but old for her 
age. She is dressed quaintly. As she comes 
well on stage she stands and drops a little curt- 
sey.) 

Rosalie. Good evenin', all av yes. 

("Men all rise.) 

Mrs. Crosby. How do you do, Madame La 
Grange ? 

Rosalie. I'm well, thank ye, ma'am. 

Mrs. Crosby. Won't you come in? 

Rosalie. I will, ma'am. (She sees Wales l.c. 
and goes to him) Good evenin' to ye, Misther 
Wales. Sure it was a grand hack ye sent for me. 

Wales. We all wanted you to be comfortable. 

Rosalie. Sure, an' I was. (She laughs and turns 
to Mrs, Crosby r.c.J Do ye know, ma'am, when 
the gintleman in uniform come for me, I thought 
at first it was th' police. 

Mrs. Crosby. I hope you weren't frightened. 

Rosalie, (c. Crosby r. end of settee c. — Mrs. 
Trent and Standish move down l., Trent comes 
to L. of armchair — Erskine seated on settee up c. — 
Mrs. Crosby at table r. Wales l.c, Trent and 
Mason l.c.j Divil a bit. Sure I'd like to see the 
cop that could frighten me. They're nice boys, thim 
cops, and most of thim good Catholics. 

Miss Eastwood. (To r. side of Rosalie j Mr. 
Wales tells us you are wonderful. 

Rosalie. I am that. Anny woman, is. 

Miss Eastwood. (With a meaning glance at the 
others) So you tell fortunes? 

Rosalie. No, miss, I do not. I get messages 




^ 



THE THIRTEENTH CHAIR 17 

from thim that have passed on. I don't hold at all 
wid the cards nor tea leaves nor any of thim tricks, 
f All laugh — Eastwood loudest) Wance in a while 
I give advice. (She turns to Miss East wood J If 
I was you, Miss, I wouldn't meet Jimmy at the Ritz 
at three to-morrow. (^All laugh. Miss Standish 
crosses to settee c. Sits. Miss Erskine rises, 
crosses to table r. — and sits in armchair. Mason 
crosses — sits on up stage settee — Trent to l. end 
of settee — Miss Eastwood in front of table r. 
Rosalie goes to Wales l.c, Crosby seats Mrs. 
Crosby down stage end of table r., then crosses 
back of Erskine to upper end of table) Well, sor, 
and how are ye? 

Wales. We're expecting great things from you 
to-night, Madame La Grange. 

Rosalie. Are ye now? Well, I hope ye v/on't 
be disappointed. 

Crosby. (Above table r., coming c. a step) I 
suppose there are a lot of tricks that 

Rosalie. (Interrupting him) You said it, sor. 
But I suppose mine is the only trade in the world 
there's anny tricks in. 

Miss Eastwood. (Coming to Rosalie, who is 
c.) Why shouldn't I meet Jimmy at the Ritz to- 
morrow ? 

Rosalie. If you do, sure, something awful is 
liable to happen to him. 

Miss Eastwood. What? 

Rosalie. Sure if you keep meeting the man he 
is liable to marry ye. (^Eastwood up stage a step.) 

Crosby. (Upper end of table r.) Would you 
mind telling me how you know this young lady was 
going to meet Jimmy at the Ritz to-morrow after- 
noon? 

Rosalie. I would not. Sure she left his letter 
in her bag in the hall, and while I was waitin' I 
read it. 



i8 THE THIRTEENTH CHAIR 

Miss Eastwood. How did you know it was my 
bag? (c.) 

Rosalie. Sure, the stuff on the bag matches the 
stuff on your dress. 

Mrs. Crosby. (Seated below table r.) Then it 
is all trickery ? 

Rosalie. It is, ma'am, and it ain't. I tell ye, 
ma'am, most of the time it's tricks, with even the 
best of us. But there's been times in my life when 
— well, ma'am, thim times it wasn't tricks. There's 
been things I couldn't understand myself, messages 
from thim that's passed on. There is a power — a 
wonderful — power — that comes to us. But the divil 
of it is ye never can tell when it's comin'. Sure, if 
ye waited for it ye'd starve to death. So when it 
ain't there we use tricks. 

Mrs. Crosby. (Seated at lozver end of table at 
R.) I think I understand. 

Rosalie. Do ye know, ma'am? Well, do you 
know, maybe I thought ye would. (Puts hand bag 
on table R.J 

^Mrs. Trent seated below door down l. Wales 
crosses down l. and joins Mrs. Trent at door 
l. Crosby above table r.c. j 

Miss Eastwood. (Coming down to r.c.) Don't 
you think all this is dishonest? 

Rosalie. (In front of table r. Turning to her) 
W^hat's dishonest? 

Miss Eastwood. Tricking a lot of poor, ignorant 
people. 

("Mason back of settee c.) 

Rosalie. It's all in the way ye look at it. A 
widdy woman came to me this mornin' wid a break- 
ing heart for the man that was gone. I went into 



THE THIRTEENTH CHAIR 19 

trance and Laughing Eyes, me spirit control, came 
with a message from him. Sure, she said he was in 
Heaven wid the angels, and there was no cold nor 
hunger; and the streets was paved with gold, and 
there was music and happiness everywhere. She 
told her he was thinkin' of her every day and every 
hour and watchin' and waitin' fer the day she'd 
come to him. Sure, wasn't that worth fifty cents 
of any woman's money? The man may have been 
in hell for all I know. 

Trent. (By armchair L.c.J What I can't under- 
stand is why you are telling us all this. 

fMiss Eastwood to settee c. Rosalie to armchair 

L.C.j 

Mrs. Trent. (Seated over l. by door) If we 

know you are fooling 

Rosalie. Didn't Mr. Wales tell ye ? 
Wales, (^l.c.j I've told them nothing. 

{^Mason drops down r. of settee. Standish down 
l. — Crosby is r. end of settee c.) 

Rosalie, (c.) Well, tell thim now, plaze sur. 
(Sits upper end of table — takes off gloves, takes out 
glasses from bag.) 

Wales. (Down l.j As I told you some time 
ago, Madame La Grange has done a lot of things 
that we can't explain. — When I asked her to come 
here to-night, she said she would under certain con- 
ditions. 

Mason. (Between settee and table) You mean 
test conditions.'' 

Wales. Not exactly. What she said was that 
no money should pass between us, and that what- 
ever she did, she would be honest. 

Mason. (Very eagerly) You mean that you 
won't play any tricks? 



20 THE THIRTEENTH CHAIR 

Rosalie. (Whisper. Mason comes to her, upper 
end of table R.j Av I do I'll tell ye. 

Miss Eastwood. (Seated on settee c.) Of 
course we understand all about spirit rappings. 

Rosalie. Do ye now? 

Standish. (Down l.J Well, rather. 

Rosalie. (^Crosby sits r. end of settee) Well, 
well, what do ye think av that ? 

Miss Eastwood. You have to be near a table 
or something like that and 

Rosalie. Maybe a chair or a desk would do? 

Miss Eastwood. And then in the dark 

Rosalie. Av course in the dark. And ye got 
wan rap for yes and two for no. (There is a short 
pause. Rosalie comes down c. — stands and says) 
Are those spirits near? (^All laugh.) 

Standish. Oh, no, don't. 

ONE RAP 
(One rap is heard — from back of fireplace. Little 
laugh.) 

Miss Eastwood. But (Rises, comes dozvn 

L.c. a step.) 

Mason. Oh, please keep still (^All gather 

a little closer around Rosalie, j 

Rosalie. Is it Laughing Eyes ? 
(One rap is heard — still louder) ONE RAP 

And ye can't talk to me in the light ? 
(One rap) ONE RAP 

Are ye happy? (^Mrs. Trent rises) 
(Two raps again) TWO RAPS 

is there someone here ye don't like? 
(One rap) ONE RAP 

A gentleman? 

(Two raps) TWO RAPS 

Dear, dear, a lady. 
(One rap) ONE RAP 



THE THIRTEENTH CHAIR 21 

(She points to Miss Eastwoodj Is it that one? 
(One rap) ONE RAP 

Laughing Eyes don't Hke you. (General laugh.) 

Mason. fR.cJ That's the most wonderful 
thing I ever heard. 

Standish. (Down l.J Oh, I don't think 

Mason. It couldn't be a trick. She just stood 
there. I watched her hands every minute. 

Rosalie. Sure, ye watched the wrong end of me. 
I have a wooden sole in me shoe. (She lifts her 
skirt and shows that she has taken one foot from 
her slipper) Ye do it with yer foot. Like this. 
(^Trent goes up to armchair l.c. Laughingly ) 
Sure, it*s a trick. 

fMiss Eastwood goes to Wales l.c. Mrs. Trent 
crosses up to armchair l.c. Standish crosses 
up to L. end of settee, Crosby c. Mrs. Crosby 
seated at table r. Standish crosses back of 
settee to R.c.j 

Mason. Then if we get any messages 

rR.c.; 

Rosalie. If ye get any messages. Well, sur, I'm 
tellin' ye the truth now. Most of the time it's fake. 
With me, or that dago Palladino, and it was with 
Slade, and all the rest of the trance mediums. But 
to-night there'll be no fakin'. (Rises) I'm a 
stranger to all of yez except Mr. Wales. I don't 
know who lives in this house, I don't know the name 
of any one of ye. Mr. Whales told me he wanted me 
to come here, he said he'd be sendin' for me. He 
ain't told me one word about any of ye. (Goes to 
R. end of settee.) 

Wales. That is quite true. (Over l.) 

Trent. (By armchair L.c.j You haven't given 
her a hint of any sort? 

Wales, (l.) On my word of honor. 



22 THE THIRTEENTH CHAIR 

Mason. (Above table r.) Madam La Grange? 

Rosalie. Sor ? 

Mason. I know a man who saw this woman 
Palladino lift a table just by putting her hands on 
it. 

(^Rosalie points to a small console table r. end of 
settee — it has a lamp on it — Eastwood l. end 
of settee.) 

Rosalie. (Putting handbag on chair above table 
R.J Will some one please take the lamp off that 
table? And will you bring it here to me? (^Miss 
Standish crosses R. to upper end of table r., takes 
lamp and holds it. Mason brings console table to 
Rosalie down c. — wide side to audience — Rosalie 
puts her hands on table with her thumbs under its 
edge and lifts the table and turns R. and L.) You 
mean like that? 

Mason. Yes, I suppose that was it. 

Rosalie. In the dark ye wouldn't hardly notice 
my thumbs. ^All laugh. Miss Erskine seated 
back of table over R.j But it can be done, it can 
be done. I don't say I can do it in the light, but if 
ye want Til try. 

All. Oh, yes, yes, of course, please do, yes, 
yes. 

Mason. You mean without any trickery ? 

Rosalie. (Getting back of console table. Turn- 
ing table around — narrow side to entrance) I mean 
like this. (She places the tips of the fingers of both 
hands on the c. of the table and stands rigid for a 
few moments. No one speaks. All watch her with 
breathless interest. Slozvly the table tips a little to 
one side, and then tips in the opposite direction. 
Then it slowly rises about a foot from the floor, 
and then drops suddenly and falls over. There is 
a long pause.) 



THE THIRTEENTH CHAIR 23 

Mason, ^r. of small table) Good God. 
Wales. fL.c. Quietly) What did I tell you? 

(There is a long pause. All turn towards Rosalie 
to see what she will do next. Mason takes con- 
sole table back to its place R. end of settee. 
Trent, Mrs. Trent, over l. Standish and 
Crosby c.) 

Rosalie, (c.) Now ye all know what I can 
do, but I can trick ye, too ; so ye'll have to take my 
word for it that I won't. I'm not makin' you any 
promises. I'll go into trance for ye, and it will be 
a real trance and no fake. My spirit controls a 
little girl named Laughing Eyes. 

Crosby. (Coming c.) Are you asking us to be- 
lieve that the spirit of a dead child 

Rosalie, (c.) To them that believes there is 
no death. Glory be to God, your own religion 
teaches ye that. 

Crosby. But not that the spirits of the dead can 
come back to earth. 

Rosalie. (Goes to chair upper end of table — 
Crosby crosses to end of settee) Man, go read your 
Bible. (^Standish crosses to back of table r.) vSure, 
I'm not going to argue with any of you. I didn't 
come here for argument. Most of you don't believe, 
you're all of little faith ; sure, it's hard to get mes- 
sages then. Perhaps I'd better go about me busi- 
ness? (Crosses to L.c.) 

Mrs. Crosby. (At table r.) Oh, no, please stay. 

Rosalie. Sure, ma'am, I'll be glad to. 

(^WiLL and Helen enter r.c. Cross down r.c.J 

Trent. (Dozvn l. of armchair) And you're 
willing to submit to our conditions? 

Rosalie. Of course, anything in reason — I — ^ — 



24 THE THIRTEENTH CHAIR 

Helen. Why ! (Coming dozvn r.c J 

("Rosalie, at the sound of a new voice, turns. She 
gives a little start, and then moves quickly to 
Helen — cj 

Rosalie. Wait, something's coming to me. 
Don't anyone speak. ("All laugh. She goes close 
to Helen and looks at her — crosses down c.j It's 
a message — give me your hand, Miss. ("Helen, in 
a good deal of confusion, gives Rosalie her hand. 
Rosalie stands and holds, her eyes are closed) 
Lady, there's nothin' but happiness comin' to you. 
The spirits tell me you're the favorite child av for- 
tune. ("Will comes to R.c.j You'll have wealth, 
and prosperity, and happiness. You'll marry the 
man you love, and ye'll be happy all your life long. 
("Wales goes up l. Trent comes to Rosalie a 
step. Rosalie turns to others) There's something 
I got to tell her, just fer herself it is. Sure, a young 
girl like, it's her modesty I'm sparin'. 

("Mrs. Trent goes up l. Trent, Eastwood, and 
Wales goes up l.c. Rosalie brings Helen 
down L. Will joins Crosby and Mrs. Crosby 
r. — Erskine and Standish hack of table R.j 

Helen. Mother! 

Rosalie. Sure, darlin', I didn't know, they just 
brought me here. Ye know I wouldn't have come 
fer anythin' in the world. ("Helen starts to break 
away) Don't tell them, dear, don't have me shame 
you before all your fine friends. I'll go in a minute 
— I'll get away the minute I can. 

Helen. But, Mother, there's no shame. I'm 
proud 

Rosalie. Tell them afterwards av ye must, but 
let me get away first. (Aloud) Remember now, 



THE THIRTEENTH CHAIR 25 

Miss, all the love in the world is hangin' over ye, 
and prayin' for your happiness. Don't let it go. 
(Buzz — Rosalie turns to Wales l. Nellie stands 
looking after her. Will comes to her r.c.J 

Will. What did she tell you? 

Helen. You heard most of it. I'll tell you the 
rest later. ("Will and Helen go up r.c.J 

Rosalie. I'm afraid I'd better go. 

f Eastwood and Trent coine down l. j 

Wales. (To the others) What do you think? 
Madame La Grange wants to call off the seance. 

Miss Eastwood. (Dozvn L.j I thought she 
might. 

Rosalie, f Mason above table R.j Did ye, now? 

Mrs. Crosby. Oh, won't you please stay? 

(^Will and Helen r.c. Miss Erskine above 
table R.j 

Rosalie. (Comes c.) I'm afraid I can't, ma'am. 
I'm not feeling right, I ain't just meself. 

Whales, ^l.c.j Really, Madame La Grange. I'm 
afraid under the circumstances. 

Rosalie. (Getting handbag from chair) I'm 
sorry but I got to go. 

Miss Eastwood. (Down l. of RosalieJ I think 
it's a shame to bother her. And I think she's quite 
right to go. Her sort of tricks aren't for people of 
intelligence. 

Helen. Oh, won't you please stay ? (To Rosa- 
lie c.) 

Rosalie. I mustn't. 

Helen. Won't you as a great favor to me? 

Rosalie. Well, Miss, since you ask it. I will 
stay. 



26 THE THIRTEENTH CHAIR 

(^Miss Eastwood laughs. She and Trent go up l. 
Crosby by settee c. Mason below table r. 
Mrs. Crosby seated lower end of table. Mrs. 
Trent comes down to armchair l.c, sits.) 

Mrs. Crosby. I'm very glad. Really, I'm greatly 
Interested. 

Rosalie. (Crosses R.J Are ye now, ma'am? 

Crosby. (To c.) I think after what we've seen, 
that we must ask Madame La Grange to submit to 
certain conditions. 

Rosalie. Anythin' at all, sur, anythin' at all. 

Mason. (Down r.) I agree with you. Frankly 
this woman impresses me. I think this test should 
be taken seriously. 

("Eastwood laughs. Crosses to l. end of settee.) 

Wales, (^l.c.j Just what I was going to say. 

Crosby. ("r.c.J If 3^ou will submit to the condi- 
tions we impose, Madame La Grange, and then show 
us any manifestations, I will never scoff at anything 
again. 

Rosalie. Sure, our scofifin's the easiest thing 
any one can do. ("Crosby crosses dozvn r. below 
table) If I could stop that even in one person, it 
would be a good job. What is it you want? 

Crosby. I want the window fastened. 

Mason. That's the idea. 

Crosby. (Coming in front of table R.) Then 
we will have the doors locked. Will that be all 
right? 

Rosalie. It will. 

Miss Eastwood. (Coming down L.c.j At the 
risk of seeming unnecessarily skeptical, I'm going 
to suggest that we search Madame La Grange — that 
is, of course, if she's willing. 



THE THIRTEENTH CHAIR 27 

fMiss Erskine and Miss Standish back of 
table R.) 

Rosalie, (c.) Why not? There's no holes in 
my stockings. ("All laugh.) 

Mason. (Down r.) I suppose it's going to be 
difficult for you to get results if we are all so an- 
tagonistic, Madame La Grange. 

("Miss Eastwood goes up l.c J 

Rosalie. Well, sur, it's up to them. If there's 
any who wants to communicate with any here, maybe 
they can reach us. I don't know. I don't under- 
stand ye. Sure, I showed ye all the tricks ; would 
I have done that, if I wanted to fool ye? I would 
not. Then why won't ye give me credit for bein' 
honest ? 

Wales. (Down l. Ad lib bu^z) I'm sure 
Madame La Grange is perfectly honest. We've made 
certain stipulations to which she has agreed. I 
think we've discussed matters enough already. 
We're ready if you are, Madame La Grange. 

Rosalie. I'm ready. 

('CroSby looks at window fastenings.) 

Mrs. Crosby. (Seated at table over r.) Do you 
know, I don't believe it will be necessary to subject 
Madame La Grange to being searched. I'm quite 
sure we can spare her that indignity. 

Rosalie. Sure, I don't mind if you fine ladies 
won't be shocked at seeing plain, hand-sewed under- 
wear. 

("Wales up l. Ad lib laugh. Erskine joining Will 
and Helen, r.c.j 



28 THE THIRTEENTH CHAIR 

Mrs. Crosby. (Xing to l. of Rosalie c.) Come 
with me then, please. I'm sure we won't be shocked. 
(Aside to RosalieJ I wear that kind myself. 

Rosalie. Do ye now, ma'am? (They go to door 
at L.j 

Mrs. Crosby. (At door l. j We sha'n't be long. 

Rosalie. (At door l.j Ma'am, would ye mind 
if all the ladies came? Then they'll all be sure I 
ain't concealing nothing. 

(The Ladies all talk together and exit l., following 
Mrs. Crosby. Wales closes door down l. 
Crosby comes to hack of table r.J 

Will. (By table R.j Do you really want that 
window fastened? 

(^Standish hack of chair helow tahle R.J 

Wales, (l.c. Crosby and Trent sit on settee 
corner) I don't care. 

Mason. (At table r.) I'd like to make the test 
that way. I've a queer feeling about that woman. 
I believe she really has power of some sort. I know 
it seems funny, but — well, you all saw her lift that 
table. I watched her carefully. There was no trick 
about it at all. I'm sure of it. 

Crosby. All right, then. You fasten the win- 
dow. Billy, you and Brad go and get some chairs 
out of the dining-room, we'll need a lot. (^Wales 
walks up and dozun l. stage. Will and Trent exit 
door R.c.j You put them in a circle, don't you? 
(Begins to place chairs that are already in the room 
in a circle c. — armchair first l. of fireplace) What 
are you going to do, Wales? Ask her a lot of ques- 
tions ? 

Wales. (Over l.J I'm going to try to find out 
who killed Spencer Lee. 



THE THIRTEENTH CHAIR 29 

Crosby. Still harping on the murder of Spen- 
cer Lee? 

fSxANDiSH places chairs above and below table in 
circle, then chair r. side of fireplace in cirde.) 

Wales. Yes. 

Mason. (Over r., opening window curtains and 
raising windowshade) Who was Spencer Lee? 
Wales. The best friend I ever had. 

(^Trent and Will enter door r.c.^ each carrying 
two chairs, bring them down R.c. and exit r.c.J 

Standish. (Placing chairs c. with backs to audi- 
ence) We all knew Lee pretty well. And I know 
he was no good. 

Wales. (Crosses to l.c. outside of circle) You 
can't talk that way about him, Standish ! 

Crosby. (In circle, comes down c.j The man's 
dead, why not let him rest in peace. 

('Standish outside of circle, l.c. seat.) 

Standish. I didn't bring up the matter, you 
know, and I don't want to hurt Ned's feelings, but 
I know that the police found a lot of compromising 
letters and rotten things of that sort. 

("Will and Trent re-enter from rx. Will crosses 
and places two chairs r. side of circle — closes 
door.) 

Wales. (i..c.) I don't care what they found, or 
what anyone thinks of Lee, he was my best friend 
and if I can find out who killed him I'm going to do 
it. It was a damned brutal murder, stabbed in the 



30 THE THIRTEENTH CHAIR 

back, poor chap, with never a chance to fight for his 
life. (Crosses over l.) 

Mason. (By table r.) I don't seem to remem- 
ber anything- about the case. 

Wales. It happened before you got back from 
France — no, by Jove, it didn't either. It was a day 
or two after. I remember you and I had lunch to- 
gether the day you got home, and I had dinner that 
night with Spencer. Funny you don't remember 
anything about it. 

^WiLL sitting r. in circle.) 

Mason. Well, of course, I must have seen it in 
the papers, but I don't go in much for crimes, and 
not knowing the man I wasn't interested. 

Standish. (Sitting in circle L.c.j It was a good 
deal of sensation. The man knew a lot of nice peo- 
ple. Came here a good deal, didn't he, Mr. Crosby? 

Crosby. (Sitting in circle up c.) At one time. 
But after Helen married he rather dropped out of 
it. Fact is until Trent here appeared on the scene, 
he was always hanging around. 

f Trent comes down and sits in R. side of circle.) 

Standish. Funny they never found out who 
killed him. 

Wales. (Standing outside of circle, l. side) 
They may yet. They haven't stopped trying. 

Mason. (Seated on table r.J Oh, are the police 
still interested? 

Wales. Yes, they're interested. As a matter of 
fact, there's a reward of five thousand dollars for 
the discovery of the murderers. 

Standish. Are you sure of that? 

Wales. I offered it. 

Trent. You? 



THE THIRTEENTH CHAIR 31 

Wales. Yes. What sort of a man do you think 
I am ? Do you expect me to sit still and let the mur- 
derers of Spencer Lee go free? Why, I'd known the 
man all his life. We were the closest kind of 
friends. 

Will. But if he was the kind of a man that 
Standish says 

Wales. I don't give a damn what he was. He 
was my friend and I'm never going to rest till I 
find out who killed him. 

Trent. But 

Wales. I wouldn't care so much if they'd given 
the poor devil half a chance for his life, but they 
stabbed him in the back. 

Mason. Wasn't there any indications (Sit- 
ting on table R.) 

Wales. (Standing upper l. side — outside of cir- 
cle) There wasn't a thing to show who did it or 
how it was done. A knife wound between the shoul- 
der blades and no knife ever found. Nothing stolen, 
nothing disturbed. The police have found out that 
a young woman called to see him that afternoon, 
two or three hours before his body was discovered. 
That's all that we know. 

Trent. (With a laugh — still seated in circle) 
And now you're going to try spiritualism? 

Wales. Why not? (There is a pause) Do any 
of you object? 

Trent. Certainly not. I'm rather for it. 

Mason. (Rises. Still at l. table) You are do- 
ing this seriously? This is not a joke? 

Wales. Quite seriously. (There is a pause) 
Well, why don't somebody laugh? 

Crosby. My dear fellow, why should anyone 
laugh? This queer old woman may have powers 
of which we know nothing at all. Personally, I 
haven't much belief in that sort of thing, but I'm 
not going to laugh at it. (Rises) Neither am I go- 



32 THE THIRTEENTH CHAIR 

ing to have any trickery, or if there is any I'm go- 
ing to expose it. 

Wales. (Over l.) That's perfectly fair. 

Crosby. You've been at her seances or whatever 
they call them before? 

Wales. Yes. 

Crosby. In the dark? 

Wales. Invariably. 

Crosby. I may want light. (He turns to his 
son) Billy, if I call for lights you give them to me. 
Don't wait for anything, understand? 

Will. Perfectly, Dad. (^Will goes up to small 
table R. of settee. Brings table zvith lamp on it down 
to between chair and his chair in circle.) 

Crosby. That's all right, then. (Still in circle. 
Door opens at l. — Mrs. Crosby enters, followed by 
Madame La Grange and other ladies. Wales 
crosses to r.c. outside circle. Standish crosses to 
upper end of table r. Trent crosses to l. side of 
circle.) 

Mrs. Crosby. I think it wasn't fair to us. 

Rosalie. Sure, ma'am, I didn't mind. 

("Mrs. Crosby crosses back of settee to up r.c.^ 

Miss Eastwood. (Combing down L.j I can as- 
sure you there isn't anything up her sleeve. 

Rosalie. Well, what did you expect, burglar's 
tools ? 

^Eastwood goes up l. end of settee. Helen and 
Mrs. Trent up l. Mrs. Trent closes door 
down L.J 

Wales. (Over R.j Madame La Grange, we've 
fastened the windows. 

/"Miss Standish, Mrs. Trent, Helen over l. 



THE THIRTEENTH CHAIR 2>3 

Trent, Standish, Erskine by console fable l. 
of settee.) 

Rosalie. Have ye now? 

Crosby. And now if you don't mind, I'm going 
to lock the doors and keep the keys in my pocket. 

Rosalie. Anything at all, sir. Sure, it's all one 
to me. (Goes inside circle and sits down c. in cir- 
cle.) 

Mason. May I see that it's done, Mr. Crosby? 

Tr.c.; 

Crosby, (^l.c. With a laugh) Can't you trust 
me? 

Mason. It isn't that~I— well, I just want to be 
sure. To see for myself. 

Crosby. Lock that one yourself, then. (Indi- 
cating door R.c. Crosby goes to door at l.c, locks 
it, takes out the key and puts it in his pocket) Bet- 
ter try it. Mason, f Mason crosses to door l.c. — 
shows it is locked) Now we'll do this one. (He 
starts to door dozvn l. Then stops suddenly) No, 
IVe got a better way than this. My dear, will you 
ring for Pollock? 

Mrs. Crosby. (Upper end of table r.J What 
are you going to do now? 

Crosby. Wait and see. (To Rosalie J You 
don't object to this? 

Rosalie. I do not. 

{'Butler enters from door l. — covnes well on stage.) 

Crosby. Oh, Pollock, I want you to put these 
keys in your pocket. (Hands them to him. Pollock 
puts them in his waistcoat pocket. Mrs. Trent and 
Helen down L.j 

Pollock. Yes, sir. 

Crosby, (h.c.) Now then I want you to take 



x^ 



34 THE THIRTEENTH CHAIR 

the key out of that door, and lock it on the outside, 
understand ? 

Pollock. Perfectly, sir. 

Crosby. Then take the key from the lock and 
put that one in your pocket also, after that you are 
to stand outside that door, and you are not to un- 
lock it until I tell you to. Understand? 

Pollock. Yes, sir, I'm to lock this door on the 
outside, keep the key in my pocket, and then stay 
just outside, and not open it for anyone until you 
tell me. 

Crosby. Exactly. (Ad lib. huzz of conversation. 
Pollock goes to door l., takes out key, exits, clos- 
ing the door after him. The key is heard turning in 
the lock) Now then, Mason, you'd better try that 
door, too. CMason goes over and tries the door l. 
Crosby follows him. Speaking through the door l.) 
Are you there. Pollock ? 

Pollock. (Outside) Yes. sir. 

Crosby. And the keys are in your pocket? 

Pollock. Quite so, sir. 

Crosby. Now we're ready, Madame La Grange. 

Rosalie. Then if ye'll all sit in a circle and hold 
hands. 

Erskine. Hold hands? I'm going to love this. 
("All laugh.) 

Mason. (Dozvn to chair l. of circle) How shall 
we sit? I mean do you want us in any particular 
order? 

Rosalie. Any way at all. 

Miss Eastwood, (^l. to Erskine, Mrs. Trent) 
And he said whose wife. 

Will. I'll sit here. (Takes chair and sits in 
reach of lamp on table r.c.J 

Rosalie. Any way will do. 

CHelen and Mrs. Trent come down l. The Oth- 
ers sit in a circle form the follozving order. 



THE THIRTEENTH CHAIR 35 

Rosalie, c. ; Crosby l. of Rosalie; Erskine, 
Miss Standish, Trent, Miss Eastwood, Ma- 
son, Helen, Mrs. Trent, Standish and Mrs. 
Crosby. This brings Wales sitting at c. with 
his hack to the audience. Rosalie directly op- 
posite up stage, facing him. As they are being 
seated ad lib. buzz of conversation.) 

Miss Erskine. I'm to sit next to you, Mr. 
Crosby. 

Crosby. I've always wanted to hold your hands, 
my dear. (Sitting in circle.) 

Mrs. Crosby. Don't trust him, Daisy. (At r. of 
circle — sits in circle R. side.) 

Miss Erskine. I won't, Mrs. Crosby. (Sits in 
circle.) 

Miss Standish. I'll chaperone them. (Sits in 
circle between Trent and Erskine.j 

Mason. (To Helen j Will you sit by me? 
(They sit in circle.) 

Trent. I'll take this place, then. (He sits in 
circle l. side.) 

Miss Eastwood. (As she sits in circle) I'm 
really getting quite a thrill, f Rosalie laughs) 
What's the joke, Madame La Grange? 

(^Mrs. Trent crosses outside of circle to R.c. and 
sits in circle.) 

Rosalie. I didn't know anything could thrill 
you. 

Miss Eastwood. You don't like me, do 3^ou, 
Madame la Grange ? 

Rosalie. Sure, Miss, I'm crazy about you. 

Wales. (Standing below circle r.c.) I think 
we're all ready. (The Others sit. Wales is about 
to sit.) 

Erskine. There are thirteen of us. Oh, don't 



36 THE THIRTEENTH CHAIR 

sit there, Mr. Wales. (Counting hurriedly. She 
sits L. side of circle.) 

Wales. Oh, I don't mind those little supersti- 
tions. (Sits down stage side of circle.) 

Mrs. Crosby. What do we do now? 

READY LIGHTS 

Rosalie. I'd like for ye to join hands, and then 
sit quiet. Don't try to think of anything. 

Trent. By Jove, that'll be easy for me. (The 
Others laugh.) 

Wales. We can't get any results if you treat this 
as a joke. (^All laugh.) 

Standish. Oh, let's be serious. 

Miss Erskine. Why, Howard ! 

Standish. Well, there might be something in it. 
Anyhow, it's only fair to do what Madame La 
Grange wants. I suppose you'd like the lights out ? 
I've always understood that was necessary. 

Rosalie. We'll get better results that wav. 

LIGHTS 

Crosby. All right, then. (He rises — goes to door 
L., pushes light siviich belozv door l. This leaves 
only the two table lamps r. and l. of settee c. still 
lit. All other lights on scene out. Crosses back to 
his chair — turns out table lamp L.J Will, you turn 
out that light as soon as we are ready. 

OUT 

Will. Right you are, Dad. 

Rosalie. That's all, then. Sure, you're not to 
be frightened, if I cry or moan when I go into a 
trance. I'm not in pain or anything like that. I 
don't even know that I do such things, but I've been 
told that it sometimes happens. Me spirit control 
is a sweet little child, named Laughing Eyes. When 
she begins to talk ye can ask her anything you want. 
If she don't answer ye, she don't want to talk to ye. 
Then whoever's speaking had better let someone else 



THE THIRTEENTH CHAIR 37 

try it. That's all. (She settles hack in her chair) 
Now, thin, sir, ye can put out that light. 

('Will turns off the light, and the stage is in dark- 
ness, all hut spots on ceiling. House lights are 
all out, too.) 

Crosby. That won't do. Billy, pull down the 
blind, that light on the ceiling is too strong. 

('Will turns on lights. Crosses, pulls blind down, 
closes curtains, resumes his seat and puts light 
out. Rosalie rises, crosses back of circle to 
hack of Miss Eastwood's chair. There is a 
pause. Suddenly Miss Eastwood screams 
shrilly.) 

Miss Eastwood. There's a hand on my face, 
there's a hand on my face! 
Crosby. Lights, son ! 

(The light on the table goes up, showing Will lean- 
ing back in his chair with one hand on the 
switch, the other tightly clasped in his father's 
hand. Rosalie is seen standing back of Miss 
Eastwood, with her hand resting on Miss East- 
wood's cheek. All start to speak.) 

Mrs. Trent. It's a trick. 

Rosalie. Sure, it is a trick. (They stop and 
stare at her. Her manner is commanding, and a lit- 
tle stern) I was going to ask ye to tie me hands to 
the arm of the chair, but I thought I'd show ye this 
first. 

Mason. I don't see how you did it — even now. 

Rosalie. (Standing outside of circle h.) Things 
happen in the dark. The sense of touch isn't much 
developed except ye're blind. When this young gen- 



38 THE THIRTEENTH CHAIR 

tleman let go my hand to turn out the light, I took 
my other hand away from Mr. Crosby and when we 
joined hands again the two gentlemen were holding 
hands as comfortable as you please. And I was 
free. It's an old trick. All the mediums use it. 
Anyone can do it. (Back to her chair and sits) 
Now, if someone will tie me in, we'll go on. 

Mason. How do we know that you can't get 
free even then? 

Rosalie. Tie me so I can't. 

Crosby. (Rising) I'll see to that. I want some- 
thing strong. 

Mason. Take handkerchiefs, they are strong 
enough. (Takes handkerchief.) 

Crosby. They'll do very well. (Takes out his 
own) I want three more. 

Will. Here's mine. (Hands his handkerchief 
to his father. Mason and Trent give Crosby 
theirs.) 

Crosby. Now, Madame La Grange, if you don't 
mind. (He goes, ties her hands to the arm of the 
chair) I don't see why you did that just now. 

Rosalie. I told you I wanted to be sure. 

Crosby. Why ? 

Rosalie. Because I think something's going to 
happen. I think there will be manifestations. I 
wanted you to know I wasn't faking. 

Miss Eastwood. Why should we think that you 
were? 

Rosalie. Sure, ye thought nothing else since I 
came into the room. 

Crosby. Mason, see if she can get free from 
that now. 

f Mason comes over, inspects the knot, Crosby tying 
the other hand.) 



THE THIRTEENTH CHAIR 39 

Mason. That seems pretty secure — someone esle 
look at it. 

("Will and Trent rise and go to Rosalie's chair.) 

Crosby. I'm going to fasten your ankles now, 
Madame La Grange. 
Rosalie. That's right. 

f Crosby ties Rosalie's ankles to leg of chair. The 
other two men look on.) 

Wales. I don't believe all this is necessary. 

Rosalie. Why not, if they want it? 

Crosby. Now I'm sure she can't get away. (Ma- 
son inspects knot.) 

Mason. So am I. (The men resume their 
places.) 

Rosalie. Well now, if ye'll all sit down, please — 
(Pause) — ye'll have to reach over and take my hands 
this time — are ye all satisfied now? Is there any- 
thing more ye want me to do? (There is no an- 
swer) Then, if ye'll all sit quiet, just keep yer 
minds free, that's all ye have to do. Now, sir, ye 
can turn out the lights. 

LAMP OFF 
(There is a long pause. Rosalie moans and whis- 
pers as if in pain.) 

Helen. I can't stand this, I 

Wales. Please keep still — she asked us to keep 
still. 

("Rosalie moans again. After a short pause, she 
gives a choking sob. Another pause. Finally 
she speaks with frequent pauses, using the voice 
of a little child.) 

SET 



40 THE THIRTEENTH CHAIR 

Rosalie. Laughing Eyes is sad, very sad. I'm 
a long way off — a long way. (Pause) Bad people, 

bad people, unhappy — he's unhappy (Pause. 

Knife is set down in sight of audience, seen sticking 

in ceiling) Spencer wants to tell Ned (She 

moans heavily) It hurts — terribly — like a knife — 

it burns — burns, in the back (^Man's voice 

from settee, facing fireplace, says) 

Voice. Ned, I want Ned — why in hell don't Ned 
answer ? 

Rosalie. (In child's voice) He wants to talk 
to Ned — is Ned here? 

Standish. Ned who? Who is it? Who does 
he want to speak to? 

Rosalie. (In child's voice) Tell Ned it's Spen- 
cer — Spencer wants to tell Ned about the letters 
and the pain in the back — in the back. 

Standish. What was in the back? (There is 
no answer) Ask him what was in the back ! 

Rosalie. (Still using child's voice) The knife 
— Ned — he wants Ned. 

Wales. What do you want? 

Rosalie. A swimming pool — don't forget the 
swimming pool. Don't ever forget 

Wales. You mean the time he went in after me 
when I was drowning? When we were little boys? 
Is that what he wants me to remember ? 

Rosalie. Spencer says he can't rest — he wants 
to tell you it's hard to reach — too far away — you 
promised 

Whales. Promised what? When did I promise? 

Rosalie. Your life saved 

Wales. Now I know — I told him I'd do any- 
thing in the world for him. Spencer, of course, I 
remember — what do you want me to do ? 

Rosalie. Find — find 

Wales. Do you v/ant me to find the letters ? 







^ 



THE THIRTEENTH CHAIR 41 

Rosalie. In the back — someone came — someone 
came. 

Wales. You're trying to tell who killed you? 

Rosalie. Ask — ask — ask. 

Wales. You want me to ask questions? Is that 
it? You mean you can't talk much? 

Rosalie. Too far away. 

READY LIGHTS 

Crosby. You know who killed you? (There is 
a pause, but no answer.) 

Rosalie. He says, Ned, he wants Ned. 

Wales. You want me to ask ? 

Rosalie. He wants Ned to ask. 

Wales. Do you know who killed you? 

Mrs. Trent. (Hysterically) Oh, my God! 

Crosby. Keep still, daughter. 

Wales. Can you tell the name? (^Rosalie sud- 
denly gives a long moan) Quick, the name, the 
name. Spencer, tell me who killed you — she's com- 
ing out of her trance. I want the name. (^Rosalie 
moans again. Her cry is over-topped by a shriek 
from Wales^ Oh, my God. My back — Oh! 
(Then there is a dead silence that lasts as long as it 
will hold.) 

Crosby. Wales, is anything the matter? 

Mrs. Trent. Father, he's pulling at my hand. 

TABLE LIGHT ON 

Crosby. Lights, son. 

(^Will suddenly turns on the light at table. Wales 
is discovered leaning forward, the circle is un- 
broken.) 

Mrs. Trent. Look at him! Father! Look at 
him ! 

f Crosby drops Rosalie's hand and springs forzvard 
tozvard Wales. At the same instant Wales 



42 THE THIRTEENTH CHAIR 

falls forward on his face to the floor. The 
others all rise, chairs are knocked over in the 
confusion which follozvs.) 

WARN 
Crosby. Stand back, please. (The Others move 

back a little — Crosby leans over Wales j Why, he 

— why — it's impossible. 

Mrs. Crosby. Roscoe. look at your hand. 

("Crosby looks at his hand, takes out his handker- 
chief and wipes it hurriedly. He crosses sud- 
denly to the door at l. Rosalie has come out 
of her trance and sits staring at Wales as he 
lies on the floor in front of her. The two fig- 
ures are thrown out from the shadows of the 
room by the light on the table back of Madame 
La Grange. The rest of the room is in semi- 
darkness.) 

Crosby. ("Trent kneels by Wales' body) Pol- 
lock ! Pollock ! 

Pollock. (Outside) Yes, Mr. Crosby. ("Trent 
turns Wales' body over on back.) 

Crosby. Get on the phone at once and call up 
Police Headquarters. Get Inspector Donahue if you 
can. Tell him to come to the house at once. 

READY CURTAIN 

Pollock. Very good, sir. 

("Crosby turns away from the door, and faces the 
Others, ivho have followed him over.) 

Will. Father, what do you suppose it is? Are 
you sure that 

Mrs. Trent. It can't be. He was talking 
and 



THE THIRTEENTH CHAIR 43 

Mrs. Crosby. Roscoe, are you sure? Hadn't 
we better send for Doctor Griggs? 

(^ Trent is leaning over Wales' body on floor.) 

Trent. It's no use. He's dead. 

Crosby. Murdered. 

Trent. (Rises) What ? 

Crosby. Mr. Wales was stabbed in the back, 
just as Spencer Lee was stabbed in the back. 

Standish. Just as he was asking — just when he 
was trying to find out who 

(There is a knock on the door down lJ 

Crosby. What is it ? 

Pollock. (Outside of door) Inspector Dona- 
hue was at the Fifty-first Street Station, sir. He's 
on his way here. (There is a pause) Shall I un- 
lock the door, sir? 

Crosby. No — not until the Inspector tells you. 

CURTAIN 



ACT II 

Scene : Same as Act I. 
Time: Ten minutes later. 

Discovered : Crosby is standing by door l. Rosa- 
lie is still tied in chair. Dummy supposed to 
represent Wales' body covered by a piece of 
drapery, has been placed on settee facing fire- 
place up c. 

Mrs. Trent seated below console table l. end 
of settee. 

Miss Eastwood seated next to Rosalie at r. 
end of console table r. of settee. 

Standish over r. by table. 

Helen and Will — standing above table R. 

Mrs. Crosby seated l., next to Rosalie. 
Miss Erskine seated next to Mrs. Crosby. 
Mason in front of fireplace c, looking at 
Wales' body. 

Trent zvalking up stage l. as curtain rises. 
All lamps on stage lit. Rose foots up full. 
Amber foots one-quarter up. No border light. 

Arrangement of chairs for Second Act. Big 
armchair up c, facing audience. Single chair 
R. of armchair. Chair upper end of table r. 
Armchair back of table r. Chair lower end of 
table R. Small chair in front of table R. Small 
chairs down c, ■with space between; these two 
chairs turn sideways to audience. Chair down 
L. Armchair against flat below door l. Chair 
up L. Chair with upholstered seat l. of Rosa- 
lie's chair. Small chair R. corner of console 
table, l. of settee. Small chair l. side, a little 
44 



THE THIRTEENTH CHAIR 45 

below console table l. end of settee. Book on 
table R. end of settee. Console table moved up 
stage to r. end of settee. Standish teetering 
chair below table R., Erskine tapping chair, 
Eastwood rattling book leaves. Mason takes 
book away from her. Miss Standish sitting 
L.c. between Mrs. Crosby and Mrs. Trent. 
As curtain rises, Mrs. Trent rises, goes to 
Crosby l. Trent zvalks up stage l. at rise. 

Mrs. Trent. (Rises, goes l. to Crosby) Father, 
please let me go to my room. 

Crosby. It is impossible, my dear. 

Trent. But, Mr. Crosby (Goes to Cros- 
by L. j 

Crosby. (Interrupting him) It's quite impos- 
sible. 

f Mrs. Trent sits in chair up l., followed by Trent, 
who stands r. side of Mrs. Trent. Standish 
is standing by table over R.) 

Standish. (Belozv table over r.) Mr. Crosby, 
I must 

Crosby. (^Will sits back of table r. Helen sits 
above table R.) Mr. Standish, I just refused to let 
my own daughter leave the room. (Slight pause.) 

Standish. But don't you see, sir 

Crosby. My dear Standish, poor Wales was 
killed by someone in this room. We are all of us 
under suspicion. Everyone of us. (Slight move- 
ment from All J It's an awful thing to say — some- 
one of us in this room has killed Whales — which one 
of us? 

(Knock on door down l. j 

THREE KNOCKS 



46 THE THIRTEENTH CHAIR 

Crosby. Yes. 

Pollock. (Outside) The police are here, sir. 

Crosby. Who is it? 

DoNOHUE. (Outside at door down l.J Inspec- 
tor Donohue. 

Crosby. (^Will rises) Pollock, you will give 
Inspector Donohue all the keys. 

Pollock. Yes, Mr. Crosby. (There is a pause.) 

Donohue. (Still outside the door) What is all 
this? 

Pollock. (Outside door down l.J I don't know, 
Fm sure. I was told to lock the door. I don't 
know what's been going- on inside. Then I was told 
to call you. This is the right key for that door. 

(The noise of the key being put into the lock can he 
heard, then the click as it is turned in the lock, 
then the door is opened, and Inspector Dono- 
hue, in citizen's dress, comes well on stage l. 
Sergeant Dunn enters, drops below door l. 
He is seen to be a clean-cut, intelligent-looking 
man of fifty. It later develops that he is re- 
served and extremely quiet in manner. He 
speaks like a gentleman and acts like one. He 
is as little like the traditional stage police in- 
spector as it is possible to induce a tradition- 
bound manager to permit.) 

Donohue. Oh, Wales! Where's Mr. Wales? 

Crosby, ("l.c.^ How did you know that 
Wales 

Donohue. (l. of Crosby. Interrupting him) 
I don't know anything. I was thinking of some- 
thing else. I was told that I was wanted here in a 
hurry. 

Crosby. Queer your asking for Wales. Mr. 
Wales is dead ; that's why I sent for you. 

Donohue. Wales is what? 



THE THIRTEENTH CHAIR 47 

Crosby. Wales is dead. 

Miss Eastwood. (Still seated r.c.) Yes, and if 
you ask me 

DoNOHUE. Just a minute, please, Miss. (He 
turns to Crosbyj It must have been very sudden. 

Why, only this afternoon I Did he ask you to 

send for me? 

Crosby, (l.c.) Inspector, you don't seem to 
understand. Mr. Wales was murdered in this room 
not fifteen minutes ago. 

(Other characters keep positions as at rise of 
curtain.) 

DoNOHUE. (His manner changing abruptly) 
Mike! That door! ("Sergeant Dunn closes door 
L. and stands in front of it) Where have you taken 
him? 

Crosby. (Pointing to the sofa c.) There. 

f DoNOHUE goes up l. end of settee c, stands look- 
ing down on the body. There is a long pause 
and then, slozvly raising his head, looks with 
terrible deliberation at each person in the room. 
Mason goes to r. end of settee.) 

DoNOHUE. Who did this ? 

Crosby. We don't know. 

DoNOHUE. (Very quietly) Then I expect we'll 
have to find out. (He comes down r. end of settee, 
stops zvhen he sees Rosalie. He gives a short laugh 
as he sees hoiv she is tied to the chair) What's 
this? (r.c.) 

Mrs. Crosby. (Rises) Good Heavens, we for- 
got to untie her. I'm so sorry. 

Rosalie. Thank ye, ma'am, I'm quite comfort- 
able as it is. I'll stay as I am if ye don't mind. 

Mrs. Crosby. But (Bus. unties.) 



48 THE THIRTEENTH CHAIR 

DoNOHUE. I think we'll leave things as they are 
for the present. 

^Mrs. Crosby resumes same seat as before.) 

Rosalie. Bless me soul, a cop with brains ! 

DoNOHUE. (Goes to Crosby dozvn l., standing 
R. side of Crosby J Let's see if he can't use them 
then. Now, Mr. Crosby, tell me exactly what hap- 
pened. 

Crosby. ("l.c.J I know it sounds foolish, but 
we were having a spiritualistic seance. Madame La 
Grange is a medium. 

DoNOHUE. I see. 

Crosby. We were sitting in the dark, in a circle, 
you know, holding hands. Suddenly Wales cried 
out. I called to my son to turn on the light. He 
did so. Wales was leaning forward in his chair. 
His hands were in those of the people he sat be- 
tween, and all the rest of us were sitting around. 

DoNOHUE. (r. of CrosbyJ All of you? 

Crosby. Yes. 

DoNOHUE. I thought you told your son to turn 
on the lights, (h.c.) 

Crosby. If you're implying that 

DoNOHUE. I'm not implying anything, and please 
answer my questions. 

Will. (Rises, and stands back of table r.) Why, 
Inspector, I was sitting there, and simply made a 
move to turn on the light. I had chosen the seat 
purposely. We wanted to expose trickery, if we 
found any. 

DoNOHUE. I understand. Go on, Mr. Crosby. 
(He turns again to Crosby.^ 

Crosby, ^l.c.j In a moment poor Wales fell 
to the floor. I ran to him and found that he had 
been stabbed in the back. Before we could call for 
aid, he was dead. 



THE THIRTEENTH CHAIR 49 

DoNOHUE. Did he say anything? 

Crosby. No. I think that he was dead before 
we got to him. 

DoNOHUE. What happened then? 

Crosby. As soon as I reaHzed what had hap- 
pened, I sent for you. 

DoNOHUE. Why for mef Why not simply notify 
the pohce? I mean, was there any special reason 
for wanting mef 

Crosby. There was, but I wasn't conscious of it 
at the time. We'd been talking about the killing of 
Spencer Lee earlier in the evening, and I suppose 
that subconsciously I remembered that you were 
handling that case, which brought yours as the first 
name to my mind. That's all. 

DoNOHUE. I see. (Goes to c. a few steps) 
Now, then, who's been in or out of this room since? 
Of course you know you had no right to move Mr. 
Whales. 

Crosby. (^l.c.J Yes, I know, but I couldn't let 
him lie there on the floor. It was a little too much. 
You see, we were all locked in here and 

DoNOHUE. Locked in? You mean as I found 
you when I came? 

Crosby. Exactly. We had all of the windows 
fastened and all doors locked for the seance. Pol- 
lock had the keys. I refused to let him open the 
door until you came. 

DoNOHUE. Mr, Crosby, you are forgiven for 
breaking the Coroner's rules. As I understand, then, 
you were sitting in this room with the doors and 
windows locked ; you were in the dark, Wales was 
stabbed in the back, the lights were turned on, and 
no one has left the room or entered since ? 

Crosby. No one but you. 

DoNOHUE. I didn't kill him. (Crosses c. There 
is a long pause, then he turns with a szveeping ges- 
ture.) Which one of you did? (Slight movement 



50 THE THIRTEENTH CHAIR 

from Other* — who are still seated. There is a long 
pause. No one speaks. Very quietly down r.c. Be- 
low table R.) Now, I'm not going to employ the 
usual police methods. There is to be no bulldozing 
or threatening or badgering. But you all can see 
that there can be no escape for the guilty person. I 
realize that this is a terrible situation for all of you, 
but the only way to relieve it is for the murderer of 
Mr. Wales to confess. (Another pause) It will 
save a long, and I assure you, a very trying police 
investigation. Let me say also that there will be no 
recriminations, no unpleasant scenes. I realize that 
this seems a very weak plea for a confession. But 
I am counting on the intelligence of the people now 
in this room. (He takes out his watch, and holds 
it face upward in his hand) I have unlimited time. 
But not a great deal of patience. Well? (There is 
another long pause. He finally replaces his watch 
with a little gesture of finality. He turns suddenly 
to Miss Eastwood, who is still seated up R.c.j 
Very well, then. What is your name? 

Miss Eastwood. Mary Eastwood. 

DoNOHUE. A moment ago, Miss Eastwood, you 
started to tell me something. You said "if you ask 
me." Now I am asking you. What was it you 
wanted to tell me? 

Miss Eastwood. (Seated r. of console table R.J 
I don't want to especially. But I think I ought to 
tell you this. No one else seems to have thought of 
it. When the seance started we were all sitting in a 
circle holding each other's hands. As I understand 
it 

DoNOHUE. We can take it for granted that I 
know how that is done. Go on, please. 

Miss Eastwood. The medium got out of the 
circle without our knowing it, and then showed us 
how she did the trick. 

DoNOHUE. I see. 



THE THIRTEENTH CHAIR 51 

Miss Eastwood. Why couldn't she have done it 
again? Of course, that's what someone did, isn't it? 
And if she could get out of the circle, without our 
knowing it, she could get back in again, couldn't 
she? (With an air of triumph — Helen rises) 
That's what I wanted to tell you. 

Rosalie. If anyone of ye or all of ye can get 
me out of this chair without untying me or cutting 
me loose, I'll say I done that murder. 

^Helen sits above table R.) 

DoNOHUE. Thank you, Miss Eastwood. It's 
only fair to tell you that there isn't a trick or an 
effect that these people do that the police do not 
understand perfectly. 

Rosalie. Is that so? 

f DoNOHUE goes over and examines the way in which 
Rosalie is tied to the chair.) 

DoNOHUE, Why was she tied up? 

Crosby. (Down l.c.j At her own request. As 
Miss Eastwood says, she showed us how she broke 
out of the circle and then suggested that we tie her 
into that chair to make sure she didn't do it again. 

DoNOHUE. ("r. of Rosalie's chair) It's lucky 
for her that she did. Even if she had gotten out of 
those knots, there's no way in the world that she 
could get back in. 

Rosalie. I said the cop had brains. ("Donohue 
turns azuay from her) Get me loose, Inspector, 
dear, me foot's asleep. 

("DoNOHUE turns back, unties handkerchief with 
which she is tied. She gets up and stands in 
front of armchair c.) 



52 THE THIRTEENTH CHAIR 

DoNOHUE. Thank you very much, Miss East- 
wood, that eliminates one. 

Rosalie. Then I can go? (Starting for door l.) 

DoNOHUE. You cannot. ('Rosalie goes r. of 
armchair and sits R. end of settee c.) Anyone else 
have anything they want to tell me? No? Mike, 
you*d better phone the Coroner and ask him to come 
up here. Tell him I do not want the case reported 
yet. And suggest that he hurries. 

Dunn. Yes, Inspector. (He turns and exits l., 
leaving the door open behind him. — Standish starts 
to door L.) 

DoNOHUE. (Turning to Standish and Trent — 
who start to go l.) That open door does not mean 
freedom for any of you yet. 

, Trent. (Coming to Donohue c.) I'm awfully 
sorry, Inspector, but IVe an important business en- 
gagement at ten o'clock. My father-in-law here 
will 

Donohue. That's quite impossible. 

^Trent goes up l. again and stands L. side of Mrs. 
Trent. j 

Standish. (Crosses L.c.j This is all very well, 
Inspector, but you know you can't keep us in this 
room forever. If you want to take the consequences 
of accusing me of murder; well, that's your affair. 
But my patience is exhausted and I haven't the 
slightest intention of remaining here much longer. 
Unless, of course, you are planning to arrest me. 

Donohue. I see. (c.) By the way, who are 
you? 

Standish. (l.c.) Howard Standish, of Stand- 
ish, Giles & Updegraft', 120 Broadway. My brother 
is Judge Standish of the Supreme Court. 

Donohue. And you refuse to remain here any 
longer ? (c.) 



THE THIRTEENTH CHAIR 53 

Standish. I do. Cl.c.j 

DoNOHUE. Very well, Mr. Standish, of Stand- 
ish, Giles & Updegraff. You are arrested as a ma- 
terial witness in this case. As soon as Sergeant 
Dunn returns, he will call a patrol wagon and take 
you down to the House of Detention. (Turns — 
crosses r.) Are there any others who insist on leav- 
ing this room? 

Standish. (^l.c.j I beg your pardon, Inspec- 
tor, I acted like a fool. ("Mason r. of settee c.) 

DoNOHUE. Not at all, sir, your actions are en- 
tirely natural. 

("Standish goes up l. Dunn's voice is heard out- 
side.) 

Dunn. Hello! Hello! No, sir. But Inspector 
Donohue wants you to come here at once. We're 
at Mr. Roscoe Crosby's house. No, sir— CDono- 
HUE crosses and closes the door l.) — he doesn't 
want the case reported yet. 

Donohue. We needn't be bothered with that, 
anyway. (Crosses to r.c. There is a pause) Well, 
I'm afraid we'll have to begin work. (He goes over 
to table R. and sits down stage end of table. Takes 
paper, gets pencil) With the exception of Mr. 
Crosby, who is known to nearly every one, and Mr. 
Standish, who has so pleasantly introduced himself 

to me, I know none of you. So I'll have to ask 

(He stops suddenly and rises, facing them all. He 
points slowly to the sofa, facing fireplace up c.) 
That's rather a gruesome thing there. I think we'll 
move it into another room. Will some of you gen- 
tlemen carry Mr. Wales' body into the other room? 
(There is a pause. The Men all hesitate. Finally 
Mason starts to settee c. down stage R.c.j Thank 
you very much, we'll (Coming to c.) 

("Dunn enters from l.) 



54 THE THIRTEENTH CHAIR 

Dunn. Dr. Bernstein himself is on the way here, 
Inspector. 

DoNOHUE. Good. Mike, get one of the servants 
to help you to carry this sofa into another room. 
(^DuNN turns and exits l. without speaking) I 
won't have to trouble you after all, sir. ("Mason 
drops to console table r. of settee. He gives a little 
laugh) Funny how these old superstitions cling to 
us. One of the first tests for guilt invented by de- 
tectives was to ask a supposed murderer to touch 
the body of his victim. (Slight pause) The test 
didn't work very well, did it? Certainly you four 
gentlemen can't all be guilty. (Slight pause) Well, 
we'll have to try something else. (Very impres- 
sively) Because you know I really am going to 
arrest the murderer of Edward Wales to-night. 
("Dunn enters from l., followed by Pollock J Carry 
the sofa into another room, please. 

Crosby. (Down l.) Into that room, please. 
(Indicating door L.c.J 

("Dunn goes up to door l.c, turns knob — discovers 
door is locked. Pollock crosses to r. end of 
sofa, facing fireplace on which dummy has been 
placed between First and Second Acts. Dummy 
is covered with a drapery.) 

Dunn. (At door l.c, the door is locked) The 
door is locked. 

DoNOHUE. (c.) Oh, yes, try these keys. 

("Dunn comes down l.c, gets keys, goes up and un- 
locks door. — He and Pollock pick up settee — 
Pollock taking his end of settee through door 
l.c. first.) 

Donohue. And Mike— — (^Dunn tttrns his 
head.) 



THE THIRTEENTH CHAIR 55 

Dunn. Yes, sir. 

DoNOHUE. Make as quick an examination as 
you can and report to me here. (The Men exit, 
carrying sofa into room l.c. Donohue crosses to 
chafr below table R. — sits. Miss Standish sits in 
circle between Erskine and Trent. Trent places 
chair h.c.) If you will all come a little closer, please. 
fWiLL back of table r. — Helen O'Neill seated 
above table,'' Miss Eastwood seated below console 
fable R. end of settee, Rosalie seated c. settee, Mrs. 
Crosby seated in armchair tip c. Mason standing 
upper end of table r.. Miss Erskine seated up l.c. 
Mrs. Trent seated, Standish l. of armchair, and 
Trent seated l.c. Crosby down l.c. J Now I can 
see you all quite comfortably. (Seated lower end 
of table R. Pollock enters door l.c, closes door — 
crosses to door l. — Exits, closing door) As I started 
to say a moment ago, I shall have to find out some- 
thing about each of 3^ou. You, Madame? (He 
turns to Mrs. Crosby, j 

Mrs. Crosby. (Seated in armchair c.j I'm 
Alicia Crosby. Mrs. Roscoe Crosby. (He makes 
notes, zvith pencil on paper in front of him.) 

Donohue. I'm sorry to trouble you, Miss 

(He points his pencil at Miss Erskine, l.c. j 

Miss Erskine. Elizabeth Erskine. I'm 

Donohue. It's not necessary to tell your age. 

Miss Erskine. I wasn't going to. I'm the 
daughter of Edward Erskine. My father is the 
banker. (Sits h.c.) 

Donohue. I know him. Thank you. You are 
then merely a guest here? 

Miss Erskine. A friend. 

Donohue. Miss Eastwood, I already know. 

Donohue. And you, Miss? 

Miss Standish. Grace Standish. 

Standish. My sister. 

Donohue. Oh! And this 3^oung lady? 



56 THE THIRTEENTH CHAIR 

Crosby. (He puts his hand on Mrs. Trent^s 
shoulder, l.c.J My daughter, Mrs. Trent. She and 
Trent, here, live with us. 

DoNOHUE. And you, sir? 

Mason. (There is a pause) Phillip Mason. (At 
upper end of table R.j 

DoNOHUE. That doesn't tell me very much. 

Mason. (With a laugh) There isn't much to 
tell. I'm just a friend of the family's. We've 
known each other for years. I've lived in Paris 
for the last two or three years. I'm a painter. 

DoNOHUE. You mean an artist? 

Mason. V/ell, I don't paint houses or fences, but 
I'd hardly call myself an artist — yet. 

DoNOHUE. Poor, I suppose? I know you'll par- 
don that question, won't you? 

Mason. Quite all right, I assure you. No, I'm 
not poor. 

DoNOHUE. (He turns tozvard Will zvho is 
standing back of Helen's chair above table r.) 
Thank you. And you ? 

Will. I'm young Crosby. 

DoNOHUE. I see. Live home, I suppose? 

Will. Certainly, where else should I live? 

DoNOHUE. I thought perhaps you might be mar- 
ried. 

Crosby, (h.c.) He's not, but if he were he'd live 
with us and 

Will. No, Father. When I marry I've got to 
have my own home and 

Crosby. Nonsense. Don't talk like a fool. 
You'd live here with me and 3''our mother — and 
your wife, of course. 

DoNOHUE. I think perhaps we'd better defer that 
discussion, gentlemen. (He turns tozvard HelenJ 
And this young lady ? 

Will. My fiancee. Miss O'Neill. 



THE THIRTEENTH CHAIR 57 

DoNOHUE. Well, that finishes that. (Rises- 
stands below table r.) 

Miss Eastwood. But, Inspector, you haven't 
asked anything about the medium? 

DoNOHUE. Perhaps I don't consider that neces- 
sary, Miss Eastwood. 

Miss Eastwood. But 

DoNOHUE. And I'm terribly set on conducting 
this investigation in my own way, if you don't mind. 

(Enter Dunn from h.c.) 

Dunn. Inspector. 

DoNOHUE. Well ? 

Dunn. (At door L.c.j I can't tell for sure, but 
I guess the knife went clean into the heart. He 
must have died instantly. 

Donohue. All right. Let me know when the 
Coroner arrives. fDuNN turns and starts toward 
door down l.J And Dunn! 

DuNN. Yes, sir. 

DoNOHUE. (Going c.) You'd better let me have 
a look at that knife. 

f Dunn turns sharply and looks at him.) 

Dunn. (Down l.J The knife? 

Donohue. Yes, the knife. 

Dunn. I haven't seen any knife. I thought you 
had it. 

Donohue. No. I haven't seen it. (There is a 
long pause. R. of Crosby) Mr. Crosby? 

Crosby. (Still l.c.; We didn't find it. 

Donohue. Look carefully? 

Crosby. Everywhere. While we were waiting 
for you. 

Donohue. Who moved Mr. Wales' body? (c.) 



58 THE THIRTEENTH CHAIR 

Crosby, (c.) I did. 

DoNOHUE. No one else touched him? 

Crosby, (l.c.) No one. 

DoNOHUE. What did you do, after you had car- 
ried him to the sofa? 

Crosby. I saw that he had been stabbed. I 
looked for the knife. 

DoNOHUE. Where? 

Crosby. On the floor, under the chairs, every- 
where I could think of. 

DoNOHUE. No trace of it? 

Crosby. None. 

DoNOHUE. What did you do then? 

Crosby. Nothing-. I waited for you. 

DoNOHUE. How long after you found that Mr. 
Wales was killed did you turn on the lights ? 

Crosby. Why, I told you ; we turned on the light 
before we found what had happened. 

DoNOHUE. Would it have been possible for the 
murderer to have hidden it about the room? 

Crosby. I doubt it very much. 

DoNOHUE. Why? 

Crosby. I don't think there would have been 
tim-C. I don't see how anyone could have done it at 
all. It's all a mystery to me. I told you the circle 
was intact. You remember? 

DoNOHUE. (There is a pause) Yes, I remember. 
Then if the knife was hidden it's probably on the 
person of the man or woman who used it. 

Crosby. I think so, undoubtedly. 

DoNOHUE. Mike, phone over to the station house 
and have them send a matron over here. fDuNN 
exits L. and closes the door after him) Now about 
that light. There was just one lamp turned on, as I 
remember. 

Crosby. Someone turned on the rest of the lights, 
almost immediately. 



THE THIRTEENTH CHAIR 59 

DoNOHUE. Could the knife have been hidden 
about the room, since that time ? 

Crosby. It's extremely unlikely. We have all 
been here together. A thing of that sort would have 
been seen. 

DoNOHUE. Then I expect we'll find it without 
much trouble. (There is a pause, as he looks slowly 
at each person individually in the room. Will puts 
arm on Helen's shoulders as Donohue looks at 
him) In the meantime, I think we'll let it remain 
where it is. (Crosses down R. He turns with a 
gesture which takes them all in) You see how in- 
evitably the guilty person must be discovered. Don't 
you think it would be much simpler to confess? 
(Pause) No? Then I suppose we will have to con- 
tinue. (Crosses up l., gets chair — places it l. side 
of circle — then gets chair down l., places that in 
lozver left-hand side of circle. Crosby crosses to c.) 
I'd like to visualize the scene a little more clearly, 
f Trent paces chair l. side of circle) Let's form 

that circle again (Turns two single chairs down 

c, around with hacks to audience. Crosses and gets 
chair in front of table — places it lower right-hand 
side of circle. Mrs. Crosby, Erskine, Mrs. Trent, 
Trent and Miss Standish rise, cross to l. of cir- 
cle) Of course, this time without Mr. Wales. 
(^Miss Eastwood rises, stands at r. end of settee. 
During these last few speeches of Donohue, Trent 
and Crosby have placed the remainder of chairs of 
the left-hand side in circle) Won't you all sit as you 
were sitting at the seance? 

(By this time circle is formed completely zvith chairs. 
There is a general movement of those on the 
stage. Standish crosses r. to above table R. 
The minute this suggestion is made Rosalie 
comes down, nearer to Donohue and looks at 



6o THE THIRTEENTH CHAIR 

him anxiously. Something in his suggestion 
greatly disturbs her.) 

Crosby. (In upper l. side of circle) Will, you 
were there by the lamp, and Madame La Grange was 
next to you, and I was next to her 

DoNOHUE. Then how did they sit? (Doivn rJ 

Crosby. (Next to Rosalie l.cJ I'm trying to 
remember. It's queer what a jumbled memory one 
has. If anyone had asked me about it, I would have 
said I could have told how we were sitting with 
great accuracy. But I can't somehow. 

Miss Erskine. I was next to you, Mr. Crosby. 
( Upper L. side of circle. She turns to Mrs. Crosby, 
who is standing over l.) Don't you remember, Mrs. 
Crosby, he said he'd always wanted to hold my hand, 
and we joked about it. (Sits in her original chair.) 

Mrs. Crosby, (l. — outside of circle) Yes. I 
remember. 

DoNOHUE. ("Helen starts h.) That's all right, 
then. Who came next? (Dozmi r. They all hesi- 
tate.) 

Rosalie. (Eagerly) Inspector, I can place them 
all for you. 

Mason. (Over end of table R.j But you said 
you didn't care how we sat. 

("Helen r.c. in circle.) 

Rosalie. Nor did I, sorr. But I was mighty 
careful to know where ye were sittin'. Shall I show 
ye, Inspector? 

DoNOHUE. (After a pause) If you will be so 
kind. 

Rosalie. ("Miss Standtsh sits in circle) The 
young lady was here. Well, this gentleman was 
here. (Indicating Trent''s chair.) 

Trent. (From l. — outside of circle) By George, 



THE THIRTEENTH CHAIR 6i 

I couldn't have told you, but she's right. This is 
exactly where I was sitting. (Sits in circle.) 

Rosalie. (Taking Helen hastily by the shoul- 
der and putting her in the next seat) And this young 
lady was here. (^Helen looks at her for a moment 
and then sinks hack in her chair. Rosalie points at 
Mason J He came next. 

Mason. (Over r.J No, you're wrong there. I 
—you're right. I remember perfectly I was next 
to Miss O'Neill. (Crosses l. and sits l. side of 
circle) I know just how her hand felt in the dark. 

{^Will looks at him quickly. Helen turns and 
looks at him in wonder.) 

Helen. (Seated l. side in circle) Well, really, 
Mr. Mason. 

Mason. Oh, I don't mean it that way at all. I 
assure you I don't. 

Will. Then why did you say it? (Seated r.c. ) 

Mason. My dear fellow, I've apologized. You 
are misunderstanding me. 

Mrs. Crosby. I think we're all pretty frazzled. 
(■L. outside of circle) Inspector Donohue, must we 
go through all this again? 

Donohue. I'm afraid so, Mrs. Crosby. 

Crosby. Then let's get it over as quickly as pos- 
sible. (Sits c. in circle.) 

Donohue. Mr. Crosby, you seem to forget that 
this is a police investigation, and must be conducted 
as I see fit. Who sat next to Mr. Mason? 

Rosalie. (Pointing to Miss Eastwood j This 
young lady. 

Miss Eastwood. I was next to Mr. Mason, 
wasn't I, Phillip? (Crossing inside of circle — to 
chair lower l. side of circle.) 

Mason. Yes. 

Donohue. Now then, who occupied this seat? 



62 THE THIRTEENTH CHAIR 

Mrs. Trent, ('l.c. outside of circle) Mr. Wales. 
I know because I sat there, and I was next to him. 
Shall I sit there now? 

DoNOHUE. If you will be so good. 

('Mrs. Trent crosses to r. and sits in circle.) 

Standish. I was next to Mrs. Trent. (Upper 
end of table r. He sits.) 

Mrs. Crosby. And I was here between Mr. 
Standish and Billy. (She sits. Donohue moves off 
a step doivn R. and stands looking at them as they 
sit. Rosalie moves over and takes 'her place in arm- 
chair.) 

Donohue. You are all sure that's where you 
were sitting? 

Miss Eastwood. ("Rosalie rises) There's some 
mix-up here. I know. I wasn't next to Mr. Wales. 

Helen. (Rises) Of course you weren't. I 
don't see what I could have been thinking of, / sat 
where Miss Eastwood is. 

Miss Eastwood. Yes, and I was next to Mr. 
Trent, between Phillip and Mr. Trent. I felt sure 
I was in the wrong seat. (Rises.) 

Donohue. (Quite casually) Then if you ladies 
will exchange places. ("Rosalie gives a little sigh 
of relief i^'hen she sees that Donohue attaches no 
importance to the substitution she has made. Helen 
and Miss Eastwood change seats — Helen crosses 
outside of circle) Now, we're all right, aren't we? 
(Slight buzz of conversation) You are quite sure 
that you are all in the places you occupied during 
the seance? 

Crosby. Yes. I think so. 

Donohue. (He puts his hand on the empty 
chair) We'll pretend that Mr. Wales is still sit- 
ting here. (Slight movement from AllJ Now, 
Mr. Crosby, I'll ask you to tell me what happened 



THE THIRTEENTH CHAIR 63 

after the seance began. But first I'll ask you this 
question: Was there any special arrangement about 
the seats? 

Rosalie. (Hurriedly — rises) There was not, 
sorr. I towld them that they could sit anywhere 
they liked for all of me. Young Mr. Crosby must 
have sat by the light on purpose. And I'm sorry 
I made that mistake about the young ladies. I don't 
know how I came to make a mistake like that. 

DoNOHUE. Oh, well, if they couldn't remember 
where they sat, I don't see how I can expect you to 
be entirely accurate. (^Rosalie sits in armchair up 
c.) However, we're all right now. Now, Mr. 
Crosby. (Down a.) 

Crosby. Well, after Madame La Grange had 
shown how she broke out of 

("All look at Donohue.^ 

DoNOHUE. We'll start with the seance. I know 
how mediums break the circle and all that. And 
you needn't describe how she went into that trance 
of hers. 

Mason. (Seated in circle) Inspector, I don't 
think you're fair to this woman. I think there's 
something pretty important that you haven't been 
told. 

I^All look at Mason.J 

DoNOHUE. Then you'd better tell me now. 
Mason. In order that there should be no decep- 
tion, we had Madame La Grange searched. 
DoNOHUE. I see. 

Mason. And while she was out of the room 

DoNOHUE. Oh, she left the room? 

CAlL look at DONOHUE. j 



64 THE THIRTEENTH CHAIR 

Mason. Yes, and all of the ladies went with 
her. Then someone suggested that we ask Madame 
La Grange about some special thing, and Mr. Wales 
said he was going to ask her to get in communica- 
tion with Spencer Lee and see if we couldn't find 
out who killed him. 

Standish. Most ridiculous thing 

Mason. As soon as she went into her trance, or 
whatever it was, Spencer Lee's spirit tried to talk 
to us. 

DoNOHUE. She began to give you messages from 
Spencer Lee without knowing that this was what 
you were trying to get ? 

Mason. (In triumph) Exactly. And there's 
no use in trying to tell me that there's nothing in 
spiritualism, because now I know better. 

DoNOHUE. Thank you very much, Mr. Mason. 
What you've told me is extremely important. I'm 
anxious to know what was said, because I'm a good 
deal interested in the Spencer Lee case myself. 

CMrs. Trent turns and faces door, still sitting in 
her chair.) 

Mason. Then you think there's something in this 
spiritualism? I never did until to-day, but, by Jove, 
you know you can't expalin this any other way. 

DoNOHUE. Madame La Grange went into a 
trance. We'll grant that much, anyway. What hap- 
pened then? 

Crosby. After a few minutes she began talking 
to us in the voice of a little child. 

Rosalie. That was Laughing Eyes, me spirit 
control. 

Donohue. Just what did Laughing Eyes say? 

Crosby. It was all mixed up; none of it very 
clear. But she seemed to be trying to talk for some- 
one to someone. She kept calling for Ned. Then 



THE THIRTEENTH CHAIR 65 

suddenly she spoke deeply, in a man's voice. 

DoNOHUE. Did the man's message have any im- 
portance? I mean, did it seem to make sense? 

Crosby. It was perfectly coherent, at any rate. 
I can*t give you the exact words, but 

Mason. (Interrupting) I can. He said, "Ned, 
I want Ned. Why in hell don't Ned answer me?" 

DoNOHUE. (^All seated in circle except Dong- 
hue, who is standing at lozucr end of table r.) And 
did anyone answer? 

Crosby. Eventually Wales replied. 

DoNOHUE. I want you all to be extremely care- 
lul in what you tell me. I don't want any surmises. 
In the first place, did the message come for anyone 
but Mr. Wales ? 

Crosby. There was at no time the mention of 
Wales' name. The calls were always for "Ned." 

DoNOHUE. I see. Did anyone else answer the 
calls ? 

Standish. / asked two or three questions, but 
no attention was paid to them. 

DoNOHUE. What did Mr. Wales say to all this? 

Crosby. I don't think Mr. Wales spoke at all 
until the message about saving his life came. 

DoNOHUE. And after that? 

Miss Eastwood. There was a regular conver- 
sation between them. 

Crosby. (^Mrs. Trent puts handkerchief on lips) 
Then there was some mention about some letters. 
I remember, too, that Mr. Wales said, "Are you try- 
ing to tell me who killed you ?'* 

DoNOHUE. What was the reply to that ? 

Mrs. Crosby. All we got were the words, "ASK 
— ask — ask.'* 

Crosby. And then I said, "Do you know who 
killed you?" 

DoNOHUE. Did you get an answer? 



66 THE THIRTEENTH CHAIR 

Crosby. Not directly. The message was an- 
other cry for "Ned." 

DoNOHUE. What happened then? 

Crosby. Then Mr. Wales said, "Do you know 
who killed you?" 

DoNOHUE. (Eagerly) What answer did he get? 

Crosby. None. The medium began to moan and 
cry. Then Mr. Wales asked her again and again 
for the name. He kept crying, "Tell me who killed 
you, I want the name." He must have asked her 
two or three times. Then he cried out that he was 
hurt. 

DoNOHUE. And then? 

Crosby. That's all. 

(Enter Dunn from door L.) 

Dunn. The matron is here now, sir. 

DoNOHUE. Just a minute. Just one more ques- 
tion, Mr. Crosby. Did you get the impression that 
if Mr. Wales had not been killed, his question would 
have been answered? 

Crosby. If you grant that the seance was real, 
it would be impossible to arrive at any other con- 
clusion. 

DoNOHUE. It was well established in your mind 
that Wales was the only person able to get a mes- 
sage? 

Crosby. Yes. 

DoNOHUE. It follows then that he was killed in 
order to prevent his question being answered. 

Crosby. That's the impression I got. 

DoNOHUE. This leads to the conclusion that who- 
ever killed Wales knew who had killed Spencer 
Lee. 

Crosby. (Still seated in circle) I should think 
so. 

DoNOHUE. (Front of table r.) And it is not 



THE THIRTEENTH CHAIR dy 

difficult to surmise that the person who killed Wales 
was actuated by the strongest of all motives — self- 
protection. So in all human probability the mur- 
derer of Wales was also the murderer of Spencer 
Lee. You see, ladies and gentlemen, that by the use 
of a little patience we have come a long way in our 
investigation. (There is a long pause) 1 don't wish 
to put you all through the humiliation of a search. 
I should like to end this inquiry here and now. 
(Breaks a step r. There is another pause) No? 
Then we'll have to go on. (Moves briskly — below 
table R.) There is a police matron in the other room 
who will search the ladies of the party. Sergeant 
Dunn will perform a similar duty with the men. 
Mike, you will take them one at a time. It makes 
no difference to me in what order they go. 

Mason. Well, I've got nothing to conceal. (He 
rises and places chair up l., then to door l.) 

Rosalie. Me neither. (She rises and crosses 
dozvn c.) 

DoNOHUE. I'd rather you waited for a few min- 
utes, Madame La Grange. (^Rosalie looks at him 
sharply) Any of the other ladies will do. 

Mrs. Crosby. Suppose I set the others a good 
example ? (Rises.) 

DoNOHUE. Thank you very much. (He looks at 
the others, where they are still seated) And thank 
you for the great help you've given me. You need 
not sit there any longer — f Mrs. Crosby comes down 
c, then crosses to door L.j — unless you wish. 

fMiss Standish crosses r. back of table r. Mrs. 
Crosby, Mason, and Sergeant Dunn exit l. 
Dunn closes door on his exit. Helen goes up 
c. — Trent crosses one chair up l. of door l.c, 
then one chair r. of door l.c, right back of set- 
tee c. Miss Erskine crosses to back of table 



68 THE THIRTEENTH CHAIR 

R. Mrs. Trent seated r.c. Will in front of 
settee c.) 

Miss Eastwood. (Crossing to Donohue r.j 
Inspector, I think you're perfectly wonderful. 

Donohue. Oh, we haven't done very much yet, 
Miss Eastwood. Give the police a little time. (He 
turns and crosses to l.c. l. with an abrupt change of 
tone) Madame La Grange, there's a question I wish 
to ask you. 

Rosalie. (Corning down to h.c.) Anythin' at 
all, sor. 

Donohue. (^l.c.j When Mr. Wales asked you 
for the name, why didn't you answer him ? 

Rosalie. I don't know, sor. I was in a trance. 
(Down L. j 

Donohue. Then you didn't hear the question? 

Rosalie. How could I? 

Donohue. I didn't ask you that. I want to know 
why you didn't answer him. 

Rosalie. I've already told you, I was in a trance. 
I didn't know what was going on. 

Donohue. Why didn't you tell the name that 
you had agreed with Wales you would tell? 

Rosalie, (h.c, astonished) Agreed? 

Donohue. You heard what I said. (There is a 
pause) Well, why didn't you carry out your part 
of the bargain ? ^Crosby crosses hack of settee to 
c, front of settee) Why didn't you give him the 
name as you'd planned ? 

Rosalie. I don't know what ye mean. 

Donohue. My words are perfectly plain. I 
asked you why you didn't carry out your part of the 
bargain ? 

Rosalie. There wasn't any bargain ! 

Donohue. Your whole seance was a fake. 
(Slight movement from Others) It was not only 
planned but rehearsed between you and Wales. He 



THE THIRTEENTH CHAIR 69 

thought that a woman had killed his friend. He 
told you about it, and asked your help to discover 
the murderer. 

Rosalie. Sure, I don't know what ye're talking 
about at all. 

DoNOHUE. (Ignoring her reply) Every detail 
of this seance was planned. When he asked you the 
name you were to tell him the name of a woman. 

^Mrs. Trent crosses up r. and joins Trent and 
Erskine at table R.j 

Rosalie. So help me, Inspector, I never heard a 
word of this before. 

Donohue. Not a word ? 

Rosalie. So help me, not a word. 

Donohue. (^l.c. Taking paper out of the inside 
pocket of his coat, and reading aloud) *^'What do 
you want? Answer. Don't forget the swimming 
pool. Don't ever forget the swimming pool. Do 
you mean the time he went in after me when we 
were little boys? Spencer Lee says he can't rest.'* 
And so on and so on, down to — "Do you know who 
killed you?" (He turns to the Others j The an- 
swer to that should have been "yes." What did she 
say? 

Crosby. (In front of table R.j She didn't an- 
swer that question. 

Donohue. (He looks at paper again, l.c. j The 
next question is, "Can you tell the name?" And 
then she was to have told that woman's name. Just 
the first name. Mr. Crosby, what did she reply to 
that question? 

Crosby. She moaned and cried. 

Donohue. What did she say after that? 

Crosby. Nothing. She moaned again and came 
out of so-called trance. 

Donohue. Why didn't you do as you agreed? 



70 THE THIRTEENTH CHAIR 

Rosalie. (Down l.c.l. side of Donohue Ston- 
ily) I don*t know what you're talking about. 

Donohue. The poHce know that some woman 
killed Spencer Lee. Something was taken from the 
inside pocket of his vest. We think it was a pack- 
age of letters. This woman left traces. We have 
her fingerprints — many of them. Eventually we'll 
find her. For three or four weeks Mr. Wales has 
been working among the people who knew Lee. His 
theory was that this woman wanted to get back her 
letters — in fact, did get them back. He felt reason- 
ably sure that he had found the woman. That one 
of you ladies here to-night is probably the woman 
we are hunting. He thought that he could play on 
her superstitious fears, and that when her name 
seemingly came from the spirit of the dead man 
she would confess. He told Madame La Grange 
the name, explained to her just what he wanted, 
and together he and I worked out the exact wording 
of the messages that were supposed to come from 
Spencer Lee's spirit. (He turns suddenly to Rosa- 
lie, zvho is dozvn l.c. j You agreed to all this ; why 
didn't you speak the name ? 

Rosalie. I don't know anything about it He — 
he must have forgotten to tell it to me. 

Donohue. Oh, no, he didn't. 

("Eastwood down in front of table R.j 

Rosalie. (With great decision) There was no 
name. He didn't tell me any name. 

Donohue. My good woman, you mustn't take 
me for a fool. You agreed to use a certain name; 
you came here for that purpose, and then after you 
got here something happened to make you change 
your plans. Something unexpected happened. (He 
stops for a moment — turns to Miss Eastwoodj 
Miss Eastwood, what did you say was your first 
name? 



THE THIRTEENTH CHAIR 71 

Miss Eastwood. Mary. 

DoNOHUE. (To Miss ErskineJ And yours? 

Miss Erskine. (Back of table rJ Elizabeth. 

DoNOHUE. Yours? 

Miss Standish. Grace. 

DoNOHUE. Mr. Crosby, your wife's given name 
is 

Crosby. Alicia. 

DoNOHUE. Mrs. Trent? 

Mrs. Trent, (r.c.) Helen. 

DoNOHUE. Miss O'Neill? 

Helen. (Up c.) Helen. (There is a long 
pause.) 

Donohue. (^l.c. Will comes to Helen c.) 
Helen, I see. So there are two Helens. Two Hel- 
ens. (He stands looking first at one and then at the 
other of the two women) Mr. Crosby, when 
Madame La Grange first came to-night did she show 
any surprise at seeing any of the people h6re? 

Crosby, ^r.c.j Not that I noticed. 

Miss Eastwood. (Below table r.) Oh, yes, she 
did. Miss O'Neill wasn't in the room when she ar- 
rived. Later when she came in the old woman 
seemed upset. She said something to her that none 
of us could hear. Then I remember she argued with 
Mr. Wales and said she didn't feel like having a 
seance. 

Donohue. Now we're getting it. ("Will stands 
R. of Miss O'Neill up c.J Everything was going 
along smoothly, until Miss O'Neill came in. The 
extra Helen. (He turns to CrosbyJ Mr. Crosby, 
your daughter was in the room when Madame La 
Grange came in? 

Crosby. Yes. 

Donohue. You noticed nothing unusual in this 
woman's manner? 

Crosby. I'd never seen her before. 

Donohue. I mean she did nothing to attract your 



72 THE THIRTEENTH CHAIR 

attention ; the fact that Helen Trent was in the 
room made no impression on her? 

Crosby. Seemingly not. 

DoNOHUE. Then Helen O'Neill came in. (Goes 
up to Helen c, then crosses to Rosalie l. He 
turns sharply to Rosalie down L.j Rosalie La 
Grange, what's that girl to you? 

Rosalie. Nothin' at all. 

DoNOHUE. (c.) Nothing at all ! Then why did 
you try to deceive me as to where she sat? Why 
did you place her so that I would not know she was 
sitting next to Mr. Wales when he was stabbed? 

Rosalie. It was just a mistake. I didn't go for 
to do it. 

DoNOHUE. I'm afraid that won't do. It's per- 
fectly apparent that the name you were to speak 
was — Helen. (He turns to Rosalie l.J What's 
the use of lying to me? You've tried your best to 
shield this girl. I want to know why. 

Rosalie. There's no reason. I never saw the 
young lady before in all my life. 

DoNOHUE. What's that girl to you? 

Rosalie. Nothin', nothin' at all 

DoNOHUE. (Starts to RosalieJ Damn you, 
you old harridan, you come across 

Miss O'Neill (Springing forzvard from up R.c. 
down to L., throwing Donohue up stage) Let my 
mother alone, let my mother alone ! (Then she goes 
to Rosalie, puts arms around her. — Pause. — Rosa- 
lie weeps.) 

Donohue. (Very quietly) I thought perhaps 
I'd get it that way. 

Helen O'Neill. (Getting l. side of Rosalie; 
There, there, dear, it's all right, it's all right. 

Donohue. (With a grim smile, coming down c.) 
Of course, it's all right! We've got the finger 
prints and 

Will. (Interrupting him — crosses down to c.) 



THE THIRTEENTH CHAIR 73 

If you think for one minute Fm going to let you- 



Crosby. My son, wait — (Grabbing him and pin- 
ning down his arms to sides c.) — think what 

Will. Think nothing. (He shakes himself free 
and goes to Donohue l.c.j That's the girl I love, 
and I'll be damned if I let you take her finger prints. 

Donohue. Young man, don't be a fool. I'm 
sorry, but it's too clear. 

Rosalie. (Breaking away from her daughter to 
Donohue c. of L.c.j Clear f Glory be to God, how 
can it be clear? Inspector, you're never goin' to 
accuse me little girl of a thing like that? 

Donohue. (c.) She was next to him ; she had 
only to free one hand, and strike and then take his 
hand again ! 

Rosalie. There was something else she had to 
do before she could ever do that. She had to have 
murder in her heart. 

Donohue. (c.) Well ? 

Rosalie. (Turns suddenly, seizes her daughter, 
who is L. of Donohue, by the hand, turns her to 
him. — Rosalie stays between Donohue and Helen j 
Look at her. Look in the eyes of her, at the face 
of her. Is there murder there? Man, man, haven't 
ye got eyes in yer head? 

fDuNN enters from L.j 

Dunn, It's not on either of them. 

Donohue. I know where it is. Tell the matron 
she'll find the knife on this girl. 

Rosalie. (To Donohue c.) Inspector, for 
Gawd's sake, don't do it! I'll tell you anything I 
know, only keep your hands ofif me little girl. I did 
come here like you say, and whin I seen me own 
child I lost me head. I'm a poor old woman that 
ain't got any sense. I tried to save her and I only 
made matters worse. You've looked at her, the poor 



74 THE THIRTEENTH CHAIR 

young thing- that wouldn't harm a fly, and you think 
she could do a thing like that ? 

DoNOHUE. Yes. 

Rosalie. (Still crying bitterly) Thin Tim Dono- 
hue, you're a damn fool, and God helpin' me I'll 
prove ut. ' 

CURTAIN 



ACT III 

Scene : The eight small chairs that were brought 
on in the First Act, are taken off stage. The big 
armchair that Rosalie sat in has been taken up 
the left corner of set. Table has been moved 
up and on stage about a foot. The knife that 
is to fall on given cue has been placed in slot 
in ceiling. The zvindow blind is pulled down, 
the curtains on windozv are opened. Armchair 
back of table right. Chair belozv table right. 
Chair above table right. Settee has been moved 
down stage centre about a foot. Shelf back of 
settee has been fixed for Wales to lie on. Con- 
sole table back in its original position, right end 
of settee centre. Chairs with upholstered seat 
put back to left side of fireplace. Line hung 
off stage back of fireplace for policeman's en- 
trance. Bright amber lights in entrance down 
left. Lamps with blue mediums at window 
LIT. Spot outside of window right ready for 
cue. Lights on set out. Door down left, which 
is open. 

Be sure to clear table r.c. for knife. 

Discovered : Rosalie by table over right. 

Rosalie. Father in Heaven, help me. Me Nel- 
ly's in trouble, terrible trouble, and there ain't any 
wan to help her but me. She's a good girl — you 
know all things, you know she's a good girl. Show 
me the way. Sure, I been a fakir all my life. I've 
tricked 'em and fooled 'em, but honest, I never 

75 



76 THE THIRTEENTH CHAIR 

meant to harm a soul, I never knowingly done harm 
to any wan. And there is a power. It's come to me 
before, a way of knowin', that I couldn't under- 
stand. I felt it, and I showed it. Oh, God, give it 
to me again. Do this for my little girl, for the sake 
of your Son. Amen. 

(Turns and goes up stage to the zvindozv at r. She 
pulls up the shade and raises the window. The 
light comes up from the street lamp, throwing 
out her figure in strong silhouette, and show- 
ing a square patch of light on the ceiling. 
In the center of this patch, sticking point up 
in the heavy zvooden paneling, can be seen the 
knife. Rosalie stands for a few moments look- 
ing out at the night. Donohue enters down l. 
As he does so, he turns on the lights from the 
switch belozv the door dozvn l. Lights in room 
on. Spot outside of zuindow — OUT.) 

Donohue. (Crosses to l.c.J Who turned ofif 
the lights? 

Rosalie. (At zvindow R.j I did, sor. 

Donohue. Why ? 

Rosalie. I was pray in'. (Coming to above 
table R.j 

Donohue. Praying? What for? 

Rosalie. Guidance. 

Donohue. (With a laugh) I hope you get it. 

Rosalie. (With conviction) I will, sor, I will. 
(She starts toward the door l.J I'll be joinin' the 
others now. 

Donohue. I think you'd better wait. (Calls off 
L.j Mike. (^Rosalie c.) 

fDuNN enters from L.j 

Dunn. Yes. Inspector? 



THE THIRTEENTH CHAIR ^y 

DoNOHUE. Did Madame La Grange see you as 
she came in here ? 

Dunn. (Down l.) No, sir. I followed your 
instructions and kept out of sight. 

DoNOHUE. How long has she been here? Cl.c.j 

Dunn. About ten minutes. 

DoNOHUE. Time enough for her to find what we 
couldn't. 

Dunn. I'll bet she's got it. 

DoNOHUE. Take her to Mrs. MacPherson. She's 
not to go near anyone or speak to anyone. Tell 
Mrs. Mac to search her. (He turns to Rosalie, 
who is c.) Unless, of course, you want to give up 
that knife now. 

Rosalie. I've got no knife, and I've been 
searched once. 

Donohue. (h.c.) Exactly, and then you were 
allowed to come back into this room. We're rather 
anxious to see what you've found while you were 
in here. Well ? 

Rosalie. I found nothing that ud be any good 
to you. 

Donohue. I'm the best judge of that. What 
was it you found? 

Rosalie. A sort of comfort, sor. A feelin' that 
the innocent would come to no harm. 

Donohue. (Dryly) Take her to Mrs. Mac- 
Pherson. Come back as soon as you turn her over 
to the matron. 

Dunn. Yes, Inspector. Come on — come on, 
you. 

Rosalie. (Crossing l.j I'm coming! 

(They exit. He stands looking after them for count 
of five when Dunn re-enters and says.) 

Dunn. (Above door l.) Mrs. Mac's got her. 
Donohue. (To Dunnj She turned out that 



78 THE THIRTEENTH CHAIR 

light. I wonder why? What did she want in the 
dark? 

(He goes over toward the light switch at l. and puts 
out his hand. He stops suddenly as his atten- 
tion is attracted by a policeman coming feet 
foremost down the chimney. Donohue gives 
a little start and then comes l.c. The Police- 
man jumps down all the way in fireplace, and 
comes into the room to console table l. end of 
settee. His uniform, is covered with soot, and 
so are his face and hands. Dunn goes down l. 
below door.) 

Dunn. I sent him to see if they'd hidden that 
knife up there? 

Donohue. Good. (To Policemanj Find any- 
thing ? 

Policeman. Nothing but dirt. Who pays for 
this uniform? 

Donohue. You don't, anyway. Could you hear 
anything while you were up there? 

Policeman. Not a thing. 

Donohue. You are sure? 

Policeman. Certain. 

Donohue. Go take a bath. 

Policeman. 'Tain't Saturday. (He exits at l. 
Donohue crosses r. Pause.) 

Dunn. (Dozvn l. After a pause) Don't it beat 
hell? 

Donohue. Why? 

Dunn. That knife couldn't have flew away. 

Donohue. (Coming c.) We'll find it eventually. 
It's in this room somewhere. 

Dunn. No, sir, it ain't. 

Donohue. Where have you looked? 

Dunn. Everywhere. 

Donohue. Not hidden in the furniture? 



THE THIRTEENTH CHAIR 79 

Dunn. I'll gamble it ain't. Took up all the rugs, 
shook 'em. Dug through the upholstery in the fur- 
niture, looked back of mat on the wall. It's not in 
the bric-a-brac or whatever these swells call their 
jugs. 

("DoNOHUE crosses to table R.J 

DoNOHUE. (r.c.) Unless we find it on the old 
woman, it's still in this room. 

Dunn. I suppose you noticed that she opened 
the window? 

DoNOHUE. (Upper end of table r.J Yes, I no- 
ticed that. Mike, youVe the makings of a great 
detective. 

Dunn. I'm a darned good detective now. 

(^DoNOHUE goes to window at r. and calls out.) 

DoNOHUE. Say, Doolan! See anything? 

DooLAN. (Outside window R.j An old woman 
put up the window just now. She stood there a 
while looking up in the air — (Pause) — watching the 
stars, I guess. 

DoNOHUE. Have anything in her hand? 

Doolan. No, sir. The light from this lamp was 
shinin' right on her. I could see everything. 

DoNOHUE. Throw anything out of the window? 

Doolan. No, Inspector. 

DoNOHUE. All right. You're to arrest anyone 
leaving the house. 

DooLAN. I gotcha. 

('DoNOHUE comes below table r.^ turns to Dunn. 
Crosses to l.c.J 

DoNOHUE. We'll find the knife eventually. 
We've got to. Get me Mr. Crosby and the O'Neill 



8o THE THIRTEENTH CHAIR 

ofirl — that's the order I want to see them in here. 



(^DuNN exits L. DoNOHUE crosses up R. end of set- 
tee to chest up R., starts to cross l. below settee. 
— Crosby closes door, enters down l. — Dong- 
hue comes down to c. — r. end of settee.) 

Crosby. (To l.cJ Your man told me to come 
here. 

DoNOHUE. Yes. Sorry to have to give orders 
in your house. If you don't Hke it I can take every- 
one down to Police Headquarters. You know what 
will happen — what the newspapers will do if I take 
all these ladies and gentlemen down town. In the 
end this way will be the best for you and your 
friends. Well, how about it? 

Crosby, (l.c.) Thank you. I think you'd bet- 
ter regard this house as your own for the present. 

DoNOHUE. (c.) All right. If you don't mind 
ril use this room as a headquarters for the present. 

Crosby. I have already told you to use this 
house as your own. 

DoNOHUE. Thank you. Good evening. 

Crosby. (With a laugh) I'm dismissed? 

DoNOHUE. You're dismissed. (^Crosby walks 
toward door l.J Why did Wales object to the en- 
gagement of your son and Helen O'Neill? 

Crosby. (Turns to DonohueJ Who told you 
that ? (r. a fezv steps.) 

DoNOHUE. It doesn't matter. I know that he 
did. Why? 

Crosby. I can't talk about it. (Turns front.) 

DoNOHUE. (c.) All right. You're the best 
judge of that. Only I'm attaching a great deal of 
importance to this fact. If I'm unduly emphasizing 
its value, don't you think you'd better set me straight 
about it? 



THE THIRTEENTH CHAIR 8i 

Crosby. What possible bearing can it have 



on 

DoNOHUE. Motive, my dear sir, motive. 

Crosby. Come now — you can't think that this 
girl killed Wales because she heard him ask us to 
wait before we sanctioned her engagement to my 
son. 

DoNOHUE. She did hear Mr. Wales make that 
objection? That's just what I wanted to know. 

Crosby, (l.) I think I'd better send for my 
lawyer. 

DoNOHUE. (c.) Well, you can do as you like 
about that. Frankly, I don't understand your atti- 
tude at all. I can appreciate your desire to spare 
your son all the unhappiness that you can. But if 
this young woman killed Wales and Lee, the sooner 
we find it out the better for you and your family. 

Crosby. Oddly enough, I was thinking only of 
Miss O'Neill at the moment. 

DoNOHUE. You'd better think of yourself and 
your family first. (Crosses r. a fezv steps.) 

READY KNOCK 

Crosby. That's for me to decide, sir. I certainly 
am not going to allow that child to be bullied and 
badgered in the usual police fashion. (Crosses R. 
a step.) 

DoNOHUE. You're going to do as you are told, 
sir. If you warn that girl, if you caution her in any 
way, I'll drag everyone of you down town. You 
and your wife and your son and the girl and all 
your friends. Be reasonable, Mr. Crosby. If the 
girl is innocent, telling me the truth won't hurt her. 
If she's guilty, and I think she is, by God, I'm going 
to drag the truth out of her and her mother. (Knock 
on the door dozvn l.) Come in. 

Helen. (Enters l.) You wanted me? 

DoNOHUE. Yes, come in. Sit down, please. (In- 



82 THE THIRTEENTH CHAIR 

dicating table below R. — Helen sits. — Crosby 
starts R.) 

Crosby. Helen. 

DoNOHUE. What you are planning to do, Mr. 
Crosby, will only make matters worse, I promise you 
that. (After a moment's pause Crosby exits at l. 
and leaves door open. Donohue turns, closes door 
and turns sharply to Helen — crosses to table R.j 
Now then, young woman, let's hear what you've got 
to say. 

Helen. Nothing. 

Donohue. (c.) Nothing. I don't suppose it's 
necessary for me to tell you that you're under grave 
suspicion. 

Helen. No, I realize that. 

Donohue. Now the best way to hfelp yourself 
if you're innocent is to be quite frank with me. 
(She simply looks at him, but does not speak) Well ? 

Helen. I've already told you that there is noth- 
ing that I can say. 

Donohue. Someone has advised you not to an- 
swer me. Who was it ? (There is a pause) You'd 
better tell me. (Crosses r.c.J 

Helen. I am not going to answer any of your 
questions. 

Donohue. I told you that if you were innocent, 
nothing that you could say would hurt you. If 
you're guilty — well, that's a different matter. 

Helen. You know that I didn't do it. 

Donohue. (In front of table a.) Well, there 
you are. Why not answer my questions, then? 
The sooner we find out who is guilty the sooner 
you'll be freed from suspicion. You see that, don't 
you? 

Helen. Yes. 

Donohue. (Brings chair and sits in front of 
table R.) Now we're getting along. How well did 
you know Spencer Lee? ("Helen does not answer 



THE THIRTEENTH CHAIR 83 

him — looking front) You'd better make up your 
mind to talk. Do you hear? ("Helen does not 
speak. Losing his temper) Why, you little fool, 
do you think you can fight me? (He turns sharply 
to face her, turning his hack on the door at l.) You 
were the last person to see Spencer Lee alive. Yes, 
and you saw him dead, too. You heard Wales 
threaten to tell these fine people what he knew about 
you; you knew he'd prevent your marriage to this 
young millionaire, and then — ("Rosalie enters quietly 
from L. and stands for a moment watching them) — 
when your chance came in the dark, you killed him. 
Now then, you come across with the truth. 

Rosalie. She'll come across with nothin'. 
(Crosses r. to table. Donohue rises and stands by 
table R.c. Helen rises) Ye said she was the wan 
that did ut and ye'd find the knife on her. Well, ye 
didn't, did ye? Ye think she's the wan that killed 
Spencer Lee? 

Donohue. Yes. 

Rosalie. Well, she ain't. Ye say ye got the 
finger prints of the girl that was in his rooms — 
now take Nelly's, then. Take hers and put 'em 
alongside of the others, bad cess to you, and then 
ye'U see. I dare ye do that. 

Helen. (With a cry) Mother! (She stops 
suddenly.) 

Donohue. What were you going to say? 

Helen. Nothing. (She creeps over to r. side 
of her mother. Rosalie puts her arms about the 
girl.) 

fDuNN enters with box and envelope,) 

Donohue. That's very wise of you. 
Dunn. Got it, Inspector. (Crosses to c.) 
Donohue. (Dozvn r.) Do they compare? 
Dunn. To a T. 



84 THE THIRTEENTH CHAIR 

("Rosalie c, Helen down r. Donohue in front 
of table between Helen and RosalieJ 

Donohue. All right. Let me have 'em. Now 
ask Mr. Crosby and his son to come here at once. 
("Dunn turns and exits at l. Donohue up c, 
crosses to back of table R.j I already have your 
daughter's fingerprints, Madame La Grange. 

Rosalie. Have ye, now? It's smart ye are. 

("Helen crosses to Rosalie r.c. Rosalie swings 
Helen l. of her. When Donohue opens box 
hack of table, Crosby and Will enter from l., 
accompanied by Dunn.j 

Donohue. That's all, Mike. ("Dunn exits at l., 
closes door down l. Crosby l. of Helen. Will 
L. of CrosbyJ Mr. Crosby, I told you that I'd settle 
this case in a few minutes. The end has come 
sooner than I thought. I am now ready to make 
an arrest. I have sent for you and your son be- 
cause (He suddenly turns toward HelenJ 

This is the woman we have been hunting. 

Rosalie. That's a lie ! ("r. end of settee — Will 
to Helen.J 

Donohue. (Picking up cup and holding it out 
toward them) Here is the cup — ("Crosby crosses 
down R. to below table — moves chair oz'cr R.J — • 
which we took from Spencer Lee's rooms. These 
are the fingerprints of the woman who used it. (Ig- 
noring Crosby for the moment) Here is the saucer 
that she used. More fingerprints. A few minutes 
ago I sent this young woman a note. The man who 
gave it to her wore gloves, so did I when I ad- 
dressed the envelope. Hers are the only naked 
hands that have touched it. (He picks up the en- 
velope gingerly by one corner, and holds it outward 
to them) They are unquestionably Helen O'Neill's 



THE THIRTEENTH CHAIR 85 

fingerprints. ("Helen iyi Will's arms. Donohue 
puts dozvn the envelope. Then he picks up the cup 
and points to the fingermarks on it) And so, Mr. 
Crosby, are these. There can be no doubt about it. 
There is never any doubt about this method of iden- 
tification. In twenty years there has never been one 
mistake. We now have what we've been hunting 
for. The woman who went to Spencer Lee's rooms. 
("Donohue steps hack with a little gesture of 
triumph. Crosby stands staring at the girl. Rosa- 
lie comes to r. of Helen, turns to her.) 

Rosalie, (c.) Look at me, m,e dear. Look at 
your old mother. (She takes Helen's face in her 
hands and looks at her closely. Then, with a little 
cry of contentment, stands R. of Helen. Rosalie 
and Helen back up to settee) Now, me dear, ye 
mustn't be frightened. Look up, child. Why don't 
ye say somethin'? 

Helen. I can't. (Sits on settee.) 

('Donohue gives a short laugh.) 

DoNOHUE. What can she say? 

Will. (Going to her) Dear, tell him it's a lie. 

Crosby. (Crosses to Helen, at settee) Wait. 
Let' me talk to her. ("Crosby comes over to Helen 
and sits beside her on the sofa, r. side. Will at 
settee l. end) My dear, you understand that none 
of us believe — what the Inspector wants us to be- 
lieve. We know that you have never done anything 
— that you are no more guilty of this atrocious crime 
than I am. We all want to help you. You under- 
stand that, don't you? 

Helen. Yes. 

Will. I won't have this. 

Crosby. I'm afraid you must, son. (He turns 
again to Helen^ We want to help you, so, my 
dear, you must be perfectly frank with us. Inspec- 



86 THE THIRTEENTH CHAIR 

tor Donohue says he can prove that you went to 
that man's rooms. Is that true? 

Helen. (Slowly and reluctantly) Yes. 

f Donohue gives short laugh. Sits hack of table r.J 

Rosalie. An' what if she did? — She had a good 
errant. — What did ye go for, darlin'? 

Helen. I can't tell you. 

Will. Dear, you must tell us. (She looks at 
him suddenly. He comes over and kneels beside her 
and talks to her as if to a little child) My dear, it 
isn't that we don't trust you. Surely you know how 
we all love you. But we must know the truth — 
(Strong) — because we have to show him how wrong 
he is. 

Donohue. (Seated back of table r.) Yes, and 
I'm waiting to be shown. 

Will. (Kneeling l. of Helen by settee) Why 
did you go to Spencer Lee? 

Helen. (Sitting on settee) You mustn't ask 
me that. I can't tell you. 

Crosby. (Still on settee) But if you don't tell 
us, how can we help you? 

Helen. I didn't do anything. I didn't do an}^- 
thing. 

Crosby. We know that, my child. But why did 
you go ? f Helen does not answer) Did you know 
Spencer Lee? 

Will. Of course she didn't. 

Donohue. (Seated back of table r.J Why 
don't she speak for herself? 

Will. Because I'll speak for her. 

Crosby. Can't you answer even that question ? 

('Helen shakes her head and makes a despairing 
gesture.) 



THE THIRTEENTH CHAIR S7 

Will. But, dear, don't you see what they'll 
think? Helen, you must tell me. 

Helen. Could I speak to mother, alone? 
(Rises.) 

DoNOHUE. You cannot. 

("Crosby and Will rise, cross to c. Crosby crosses 
to L. end of settee.) 

Rosalie, (r. end of settee) Where's the harm 
in that ? Sure, a child's the right to talk to her own 
mother any time she wants. 

DoNOHUE. Anything you wish to say, you can 
say in front of me. 

Rosalie. (Coming to Helen c.) Sure, darlin', 
ye needn't mind the nice Inspector. Don't I well 
know that there was never anything in your mind 
that ye couldn't say before all the world? (There 
is a pause) Tell yer old mother, me dear. 

('Crosby c. Will standing below him c.) 

Helen. (Beginning to cry) I can't. I can't. 

Rosalie, (c.) Stop, there's been cryin' enough. 
I lost me head through that and me fears. Stop 
cryin' or I'll give ye what for. (She, too, begins to 
cry and takes her daughter in her arms again) 
There, there, me dear. Sure, yer old mother ain't 
going to let anyone hurt ye. Not anyone at all. 
(They cry together for a moment and then Rosalie 
gets her self-control back. She blows her nose vig- 
orously) We'll both be the better for that. Now 
then, tell me. 

Helen. Mother, I can't. 

Rosalie. fR.c.j Who did ye promise ye 
wouldn't ? 

Helen. (Surprised) Why, how did you 

Rosalie. She's shieldin' someone. 



88 THE THIRTEENTH CHAIR 

Helen. No. No. 

Rosalie. And that's the first He 3^e ever told, 
and I know it. I want to know who ye're shieldin' ? 
(^Helen does not answer. Rosalie suddenly turns 
to Will J Is she your girl ? 

Will. Yes. fL.c.J 

Rosalie. Then make her tell. 

Will. (To Helen c.) Nell, dear, you must 

Helen. Billy, I can't. 

Crosby. (Drops down l. of group) My dear, 
even if you're protecting someone else, I think you 
ought to tell us. 

Helen. (With a sudden outburst) Why are 
you all against me? Why are you all trying to make 

me break my (To R. end of settee. Will 

comes to her. Crosby l.c.J 

Rosalie. (Interrupting Helen_, coming to r.cJ 
Break yer word, is ut ? Ye should not. Sure, there 
never was an O'Neill in the world that was an in- 
former. Ye needn't tell. Sure, I know it meself 
now. 'Tis blind I've been. (She turns suddenly on 
the Inspector — to dozun table r. above him) Ye're 
the one that found out there was two Helens. The 
extra Helen, says you. Well, send for the other 
Helen and ask her. 

Helen. Mother, stop! 

Rosalie. Stop, is ut? Sure, I will not. 

Crosby, (c.) Wait, please. Is it my daughter 
you're protecting? ('Helen does not answer) Be- 
cause if it is — much as we love her, my dear, we 
can't accept that sacrifice from you. I'm her father, 
and you must tell me the truth. Did my daughter 
send you? (There is a long pause) Did you go 
for my daughter? 

Helen. (Slowly) Yes. 

Rosalie. I knew ut. (Above table n.) 

Crosby. My daughter sent you. What for? 

Helen. ("r.c.J Some letters. 



THE THIRTEENTH CHAIR 89 

Will. (In front of settee c.) Why didn't she 
go herself ? 

Helen. She was afraid. 

DoNOHUE. (Still seated back of table R.) Well, 
go on. ("Helen does not speak.) 

Will, ("r.c.j Tell him, dear, it's all right. 

Helen. I don't know what to say. 

DoNOHUE. Why not tell the truth? (Rises to 
chair belozv table R.j 

Rosalie. Tell the Inspector what happened, 
dearie. (Putting Helen in chair front of table R.j 

Helen. Nothing happened. That's the funny 
part of it. The minute Mr. Lee understood that I 
knew about the letters, everything was changed. I 
said that unless he gave them to me I'd tell Mr. 
Crosby about them. He seemed terribly upset. He 
said he hadn't meant to frighten Helen. That he 
loved her, and was desperate. I thought it was a 
funny kind of love, but I didn't tell him that. Then 
he gave me the letters. 

Donohue. Was this before or after you had tea 
with him? 

Helen. Before. 

Donohue. Go on. He gave you the letters. 

Helen. (Seated in front of table r. j Yes. And 
he seemed terribly unhappy. He begged me to stay 
and talk to him for a few minutes, and I did. He 
asked me to have some tea with himi^ and I did that, 
too. 

Donohue. How charming! What did you do 
after tea? 

("Rosalie back of chair, front of table.) 

Helen. I came home and gave Helen her let- 
ters. 

Donohue. And that's all ? 
Helen. That's all. (Saucy.) 



90 THE THIRTEENTH CHAIR 

DoNOHUE. Why did you do this ? 

Helen. (Seated front of table R.j She's Bil- 
ly's sister. 

DoNOHUE. My compliments, young woman. 
That was beautifully done. And she looks so in- 
nocent, too. 

Will. You don't believe (c.) 

DoNOHUE. Not a word of it. Not one word. 
(Rises.) 

Rosalie. And why not? 

DoNOHUE. That I don't is sufficient. Her story 
is preposterous. Your daughter's 

\Vill. It's the truth. 

DoNOHUE. Do you expect me to believe for a 
minute that a man like Lee would threaten your 
daughter, and then when a total stranger comes to 
him and asks for the letters, give them up without a 
word? Why, no jury in the world would believe 
your story. 

Will. Jury? You're not going to arrest her? 

DoNOHUE. She is arrested. 

Rosalie. Ye got no proof. 

DoNOHUE. (Belozv table r.J All the proof that 
I need. If she was innocent, why didn't she tell me 
all this when I first questioned her? Why did she 
wait until she knew that I had proof — that she had 
been in Spencer Lee's rooms? 

Will. She was protecting my sister. 

DoNOHUE. Women don't hang together like that. 

Rosalie. (Upper end of table R.J Sure they 
do. The poor creatures. 

DoNOHUE. (Down r.J They do not. I know 
them. (He turns to Will J She wasn't protecting 
your sister. She was protecting herself. She went 
for the letters, of course; and they had tea before 
she asked for them, not afterwards, 

Crosby, (r.c. to l. of WillJ How do you know 
that? 



THE THIRTEENTH CHAIR 91 

DoNOHUE. She couldn't take tea with a man 
she's just killed. 

Will. Why, damn you (Starts R.) 

Crosby. (Grabbing Will by shoulders) Billy! 

Will. (Breaks up stage a few steps, then down 
stage again) I'm sorry. I didn't mean to lose my 
temper. I suppose we've got to take this thing 
calmly. Inspector, you honestly believe that Nelly 
killed this man? 

DoNOHUE. Yes. 

Will. Why should she ? 

DoNOHUE. She was engaged to you — ^he had 
compromising letters she had written to him — he was 
threatening her with exposure — she went to get her 
letters. They had tea together— she's admitted that, 
after we proved it, and then when he wouldn't give 
up her letters, she killed him. So much for the first 
murder. (Turns away) Now for the second: she 
was sitting next to Wales ; he had already threatened 
her with exposure; in another minute, the medium 
would have told her name as that of the person who 
had been at Spencer Lee's rooms. She pulled her 
hand away from his, struck, and took his hand 
again. (There is a pause) Young man, you'll 
have a hard time tearing apart that chain of evi- 
dence. 

Rosalie. Barrin' the fact that she niver wrote 
the man a letter in her loife, 'tis a grand case ye 
got. 

Will. (Dozvn c. a step. Crosby goes above 
Will c.J Of course. Dad, we've lost our brains. 
She didn't go for her own letters. fWiLL turns to 
the Inspector^ You were talking of juries. Do 
you think any jury will believe that a young girl 
would kill a man to get back another woman's let- 
ters for her? (He starts tozvard door L.J 

Crosby. W'here are you going? 

Will. To get my sister. 



92 THE THIRTEENTH CHAIR 

DoNOHUE. Wait. ('Will stops) I'll send for 
Mrs. Trent. 

Will. (Crosses L.c.j But I want to ask her 

DoNOHUE. (Interrupts him) I'll ask my own 
questions. If you want to help this investigation, 
you might call Sergeant Dunn for me. 

('Will opens door at l.) 

Will. (Crosses to c.) Sergeant Dunn, the In- 
spector wants you. (He turns back to the girl and 
Dunn enters l.J 

DoNOHUE. Ask Mrs. Trent to come here. 
('Dunn exits at l. Rosalie r. end of settee. 
Helen in chair in front of table R. Will c. Crosby 
7valks up L., then back to l.c. Donohue below the 
table, looking at them unth a grim smile. After a 
pause of ten counts, Mrs. Trent and Trent enter 
from L., follozi^ed by Dunn, zvho stands below the 
door) I sent for Mrs. Trent. 

Trent. I know that. What do you want to see 
her about? Cl.c.J 

Donohue. Mrs. Trent, did you ask this girl to 
go to Spencer Lee's rooms to get letters you had 
written to him ? 

Trent, ('l. of Mrs. Trent j Did she what? 

Donohue. Did you, Mrs. Trent? 

Mrs. Trent. ('l.c.J Certainly not. 

Helen. Why (Rises from chair in front 

of table R.J 

Donohue. (Sternly) Keep still, you. (To 
Mrs. Trent) Are you sure? 

Trent, ('l. of Mrs. TrentJ Of course she's 
sure. 

Donohue. Mr. Trent, you must stop these in- 
terruptions. (To Mrs. Trent) Will you please 
answer my question? 

Mrs. Trent. I never wrote a letter to Spencer 



THE THIRTEENTH CHAIR 93 

Lee in my life. (She suddenly turns to Helen j 
How dare you say I sent you there? 

Helen. You did! You did! (Front of table.) 

Mrs. Trent. (Down l.c.J I don't know what 
she's told you, Inspector, but 

Donohue. Never mind what she told me. I 
want to be very sure of this. You did not ask this 
girl to go to Spencer Lee's rooms ? 

Mrs. Trent. No. 

Donohue. (Dozvn R.J He had no letters of 
yours ? 

Mrs. Trent, (^l.c.j No. 

Donohue. Do you know whether this girl had 
written to him? 

Mrs. Trent. I don't know anything about it. 

Will. (Coming l. of Mrs. Trent. Crosby to 
c.) But Nell didn't know Lee, and Helen, you did. 

Donohue. (Still down R.J How about that. 
Mrs. Trent? 

Mrs. Trent. I hadn't seen Mr. Lee in two or 
three years. He used to come here a good deal. 
He wanted to marry me, but I didn't like him. And 
I certainly never wrote him letters of any sort. That 
is all I can tell you. 

Donohue. Thank you very much. That is all 
that I v/ant to know. 

Will. (Turning on his sister) You're lying to 
save yourself. You've got to tell the truth. 

Trent. She is telling you the truth. 

Will. She's not. 

Crosby. (After a pause, putting his hand on his 
son's shoulder) I'm sorry, Billy. 

("Will goes up to settee c, sits. Crosby looks 
coldly at Helen and turns to his daughter.) 

Mrs. Trent. Father, you know that 



94 THE THIRTEENTH CHAIR 

Crosby. Yes, dear — I know. Inspector, do you 
want us any more ? 

DoNOHUE. Not any more, thank you 

Crosby. Come then, children (He exits 

with Mr. and Mrs. Trent down l. Helen still 
in front of table R.j 

DoNOHUE. (As the door closes. Crosses l. to 
L.C.J Mike, take her down town. 

Rosalie, (c) I wouldn't if I was you. In- 
spector, I know who done it. fWiLL rises.) 

DoNOHUE. (Turning to Rosalie c.) You know 
— who was it? 

Rosalie. I can't tell you yet. (^Donohue laughs. 
Will r.c. Crosses to HelenJ But I will. I will ! 

DoNOHUE. Tellin's not enough. There's just 
one thing- that will convince me that she didn't kill 
Spencer Lee. 

Will. (Down r.J What, Inspector, what? 

DoNOHUE. The confession of the one who did. 
(He turns to RosalieJ Bring me that and I'll set 
your daughter free. 

Rosalie, (c.) Inspector, give me a chance. 
Don't arrest me little girl. Give me time. I know 
who done it and I'll get ye vv^hat ye want. 

DoNOHUE. fL.c.j Nonsense. 

Rosalie. (Crosses l. to Inspector^ Give me an 
hour, sor, keep them all here an hour more. 

(^WiLL crosses down r. to Helen. j 

DoNOHUE. No. 

Will. (^Will and Helen in front of table R.j 
Give her a chance. We're all here — no one will get 
away. What difference will a few minutes make? 

(There is a pause. Donohue takes out his watch 
and looks at it.) 



THE THIRTEENTH CHAIR 95 

DoNOHUE. I'll give her ten minutes, Mike. Tell 
Doolan again to arrest anyone trying to leave the 
house and get on the front door yourself and stay 
there until I tell you. fDuNN turns and exits at L.j 
You've got just ten minutes. (He follozvs Dunn 

off L.) 

Rosalie. Ten minutes. Ten minutes. fWiLL 
crosses to door L. and closes door.) 

Will, ^l.c.^ Why didn't you tell who did it? 

Rosalie, (c.) How could I? Sure, I got no 
idea in the world. But I'm goin' to find out. I'm 
goin' to find out. 

Helen, (r.c.) But how, Mother, how? {^Helen 
starts h.) 

Rosalie. Call them back. Make them all come, 
too. I want them all. (^Helen runs off l.) Sir, 
run down in the hall. Do you know which is Mr. 
Wales' overcoat? 

Will. Yes, I think so. 

Rosalie. See if you can find me a glove or some- 
thing of his — and hurry. (Will runs off l. Rosa- 
lie stands in thought for a moment — puts chair c. 
facing up stage. Will runs on again and hands her 
a glove) Did you get it? 

Will, (^l.c.j What are you going to do? 

Rosalie, (l.c.) Trick 'em. Lie to 'em. It's 
for Nelly, do you blame me? 

Will. What can I do to help? 

Rosalie. Glory be ! It's a man after me own 
heart. I'm going to do something to put the fear of 
God into the heart of that murderer. Don't pay no 
attention to me. Watch them. Don't look at me. 
don't take your eyes off them. I'm looking for one 
of them to do something that will show us the way. 
It's our only chance. 

("Helen runs in at i^.j 



96 THE THIRTEENTH CHAIR 

Helen. They're coming. 

Rosalie. Leave the door open so we can hear 
*em. ("Helen does so and returns to her mother, 
standing l. of RosalieJ Child, kiss me fer luck 
(They kiss) It'll do no harm to kiss him, too. 
(They kiss) Now son, can ye lie? 

Will Can I ! 

Rosalie, (c.) Here's the talk you're to make 
when they come in. I'm goin' in a trance. You'll 
tell 'em that I asked fer Mr. Wales' glove and the 
minute I got it in my hand, I went off like they see 
me. Tell 'em ye thought maybe there might be 
some reason for it. And then leave the rest to me. 

READY VOICE 

Will. I understand. 

Rosalie. You stand here back of me. I want 
them all in front of me. (Will crosses back of 
Rosalie to R. side of Rosalie's chair. Helen 
crosses r. of Rosalie above her) Nelly, stand close 
by me. Go further back. (Ready Voice. Helen 
moves to R. of Rosaliej That's right. Now don't 
you move from there. This'll be the realest trance 
ye ever saw, and the grandest fake. When I come 
out, make 'em go away, tell 'em you're afraid it'll 
kill me to see anyone, just then. 

VOICES OFF LEFT 

(She suddenly stiffens in her chair. Lying rigid 
with her head thrown back on the headrest, and 
the hand in which she is holding Wales' glove 
stretched out straight in front of her. Enter 
down L., Crosby, Miss Eastwood, Standish, 
Trent, Mrs. Crosby, Mrs. Trent and Miss 
Standish.J 

Crosby. (Crossing to up L.c.j What is it, 
Billy? 




Oi 
Oh 



y^ 



THE THIRTEENTH CHAIR 97 

(^Miss Eastwood l. side of Rosalie's chair, Mrs. 
Trent and Mrs. Crosby l. of settee c; Trent 
Miss Erskine and Standish lower l. end of 
settee.) 

Standish. What's happened? 

Will. (r. side of Rosalie^s chair) I don't 
know, exactly. We were talking about this awful 
thing. She knew, of course, that her daughter 
couldn't have done it, and she asked me to get her 
something that had belonged to poor Wales. I got 
a glove out of Wales' overcoat pocket and handed 
it to her, and then all of a sudden she went stiff like 
that. I don't know what it means. 

(The Others drazv closer to Rosalie. W^ill and 
Helen on the r. side of Rosalie's chair. Miss 
Eastwood cotnes to Rosalie and lays her hand 
on her forehead.) 

Miss Eastwood. She's like ice, she's not 

(Breaking up c. a few steps.) 
Helen. Oh, no, it's a trance. 

("Mason enters l. down l.) 

Mason. I wouldn't touch her if I were you. 

Rosalie. (Sitting in chair r.c. Speaking as 
Laughing Eyes) Hello, everybody. What you all 
so solemn about, anyway? I've got a message 
from a new friend. He don't want me to send it 
— he wants to talk ; ha, ha, ha, he thinks he can 
talk, and he's only been here a little while. (Still 
speaking as Laughing Eyes) He says you're all 
fools. It's so plain, so plain. He's looking right 
at the one who did it, right straight at the one who 
did it. (\\i ales' voice.) 

Wales' Voice. I'm coming to you until you tell. 



98 THE THIRTEENTH CHAIR 

I can't speak names. You've got to tell. I'm com- 
ing, again and again and again, until you tell. Find 
the knife. You must find the knife. The marks 
will show. The marks will show. 

(^Miss Eastwood shrieks and faints on l. end of 
settee. Mason is belozv end of settee looking 
at her. Will is standing r. side and back of 
Rosalie, looking eagerly about him. Helen 
turns and looks at Miss Eastwood, Mrs. Cros- 
by goes to Miss Eastwood on settee.) 

Mason. This has got to stop. (Starts to Rosa- 
lie's chair — l. side of it.) 

Helen, (r. side of Roralei's chair) You 
mustn't touch her. 

Mason. It's all right as far as the men are con- 
cerned, but look at that girl. (He points to Miss 
Eastwood on the settee) They'll all be fainting if 
this isn't stopped. ^Trent goes to Rosalie. j 

Wales' Voice. Trent, let the medium alone. Do 
you understand? Let the medium alone. 

Trent. That's Wales' voice — and Wales is 
dead. 

fMAsoN crosses sloivly to Rosalie's chair. Trent 
crosses l. above Mason to Standish — Rosa- 
lie begins to mutter and moan. Suddenly she 
brings her hands together, and then throws her 
arms wide apart. Wales' glove sails out of her 
hand, and strikes Mason on the face. It falls 
to the floor. Standish exits very quietly door 
down L. Mason picks glove up — holding it in 
his hand — looks at it — suddenly drops it to the 
floor — turns to Mrs. Crosby. j 

Mason. Mrs. Crosby, shall I take Miss East- 
wood to your room for you ? 



THE THIRTEENTH CHAIR 99 

Mrs. Crosby. Yes, please, Phillip. 

('Miss Erskine crosses to door l. Mason assists 
Miss Eastwood near seat and helps her from 
the room, exiting door dozvn l. Mrs. Crosby 
eA'its door l. Trent wipes his hands with 
handkerchief. Rosalie stirs uneasily and 
moans.) 

Helen. (Standing r. side of Rosalie's chair) 
Please leave her to me. Em afraid seeing you all 

here will trouble her. I'm afraid she'll Oh, 

won't you please go? (The Others turn and go 
to door down l. — exit.) 

Crosby. (Below l. end of settee) Let me know 
if there's anything I can do. 

Helen. (^Rosalie moans again) Yes, yes. 
Only please go now. 

(^Crosby exits door l. Will runs quickly to the 
door at l. and closes it and turns to Rosalie, 
ivho is sitting up in her chair.) 

Rosalie. (Rises and crosses a step R.j Well? 

Helen, (r.c.) It was the Eastwood girl. Her 
face was terrible. I was glad when she fainted. 

Will. fL.c.j I think you're wrong. Standish 
ran away. He couldn't bear it. 

Rosalie. x\nd that's all ye saw? I told ye to 
use the brains that was back of yer eyes. 

Will. Well, of course, there was Trent. You 
can't mean Trent? Why, he's the kindest man in 
the world. (There is a pause) The letters. If he's 

known the truth about the letters (Breaks l. 

a step.) 

Helen. (Coining down to l. of Rosalie's chair 
and picking up glove) Mother, why did you throw 
that glove at Mason ? 



100 THE THIRTEENTH CHAIR 

Rosalie. Did it hit him? Well, well, well. Any- 
how it was a good seance. 

(^WiLL takes chair up l. Rosalie crosses dozen r.c.) 

Helen, (l. side of Rosalie j Mother, you know 
— ^youVe found out? 

^Will takes Rosalie's chair up to door r.c. and 
comes down to l. of Rosalie.) 

Rosalie. Sure, it's wan thing to know and an- 
other to prove. 

Helen, (l. of Rosalie j Mother, who was it? 

Rosalie. Child, child, do ye think it's a game 
we're playin'? I got two or three minutes. What 
Eve got to do Eve got to do quickly. 

READY KNOCK 

Helen. But what. INIother. what? 

Rosalie. I don't know, I don't know. Child, if 
you don't get away from me you'll drive me mad. 

READY KNOCK 

Will. But can't we 

Rosalie. This is no work for children. Leave 
me be and leave me think. ^Will and Helen run 
off door L. — closing door) He'll never break in the 
world. Never in all this world, (h.c. Half in 
thought) Sure, Laughing Eyes, you're no good to 
me in the world. We've faked all our lives, and now 
when I want the real thing I get nothing at all. If 
I could find the knife, sure, there'd be marks av a 
hand on that. But it's gone. It's gone. I can't 
let him get away with it. I want a sign. I want a 
sign. Laughing Eyes, are we goin' to be beaten by 
a schemin', cold-hearted murderer? (Knock tzmce 
on table outside door down l., then count of five, 
rap twice more. Ready lights. Rosalie starts, 
looks hastily around the room) I didn't do that. 



THE THIRTEENTH CHAIR loi 

I didn't do that. (She lifts her skirt and sees that 
her feet are still in her shoes. It's come! After all 
the years, a real message. A real message. I'll take 
it in the dark, believin' and trustin' that Tm to be 
shown. (Lights out. Crosses dozvn to door l. — 
pushes light szvitch. All lights in room out. The 
spot from the zvindow shines on the ceiling, is bril- 
liantly illuminating the knife. Rosalie crosses to 
chair c.) Laughing Eyes, have you a message for 
me? (She looks up at knife in ceiling) Look at it! 
Glory be to God. The knife! 

(The door at l. opens. Pollock stands in the door- 
way. He sees that the lights are out and turns 
them on. Then he sees Rosalie, zvho is stand- 
ing c, facing front as in a trance. } 

LIGHTS ON 
Pollock, Excuse me. Madam. I knocked twice, 
but you didn't hear me. 

Rosalie. I heard ye. It was a message just the 
same. 

Pollock. The Inspector says have you got any- 
thing you want to tell him? ('Rosalie stands lost 
in thought. Pollock looks at her for a moment and 
then nervously begins to set the chair below table 
up R. corner of set. He notices that the windozv 
blind is up, goes over and pulls it down and drazvs 
the curtains. He then comes back to Rosalie above 
table R.J The Inspector says have you got any- 
thing you want to tell him ? 

f Rosalie crosses down r. in front of table. Dono- 
hue enters from l.) 

Donohue. (Crosses to c.) Time's about up. 
(He laughs) Well? 

Rosalie. (Below table R.J I want them all here. 
All of them. Every one. 



T02 THE THIRTEENTH CHATR 

DoNOHUE. What for? 

Rosalie. You're going to hear the murderer con- 
fess. 

DoxoHUE. Pollock, ask Mr. Crosby to bring 
everyone here. (Crosses r. to above table.) 

Pollock. Very good, sir. (He exits l. Dono- 
HUE takes out his watch and stands with it in h's 
hand, watching Rosalie. She stands lost in her 
dreams. Dunn enters with Helen O'Neill 
down L.) 

Dunn. Here she is. Inspector. 

DoNOHUE. Come here, Miss, ^Helen crosses 
to DoNOHUE. To DunnJ Go get a taxi. 

fDuNN turns and exits l. The Others enter and 
stand crowding in the doorway. Will pushes 
through and crosses and stands by Helen tip 
R.c. right end of settee.) 

Crosby. (Up L.c.j What is it? You sent for 
us. 

Donohue. (Between table and settee c.) She 
says her daughter's not guilty. I gave her ten min- 
utes to find out who is. The time's up. (He puts 
his watch back in his pocket. He turns to Rosaliej 
Well? 

("Rosalie stands rigid. There is a long pause.) 

Rosalie. (Below table R.J You that's hidin', 
come out. 

READY DOOR 

Donohue. Come on. (He takes Helen by the 
hand. They go up r. above table.) 

Rosalie. (Lozver end of table R.J You that's 
skulkin', come out ! The m.essage has come. I call 
on the spirit of Edward Wales. I call on the spirit 



THE THIRTEENTH CHAIR 103 

of Edward Wales. Now you that's killed two men, 
look! 

(The door at l. of fireplace slowly swings open. 
Mason, with a cry of horror, pushes through 
the crozvd at the doorway, which parts to let 
him through. He follozvs the spirit he sees mov- 
ing across the stage until he is at c. and a little 
above the table. Mrs. Trent, Erskine and 
Standish below door dozvn L. Trent, Mrs. 
Crosby, Miss Eastwood c. above door l. All 
watch Mason. Suddenly the window curtains 
are throzvn back, the shade runs up noisily and 
the lights go down. The street light strikes the 
knife in the ceiling, as it begins to fall. Ma- 
son's eye follows the light. He sees the knife 
and gives a cry of horror as it strikes the table 
and sticks in front of him. Mason rushes up 
stage end of table R.) 

Mason. (With a cry) I can't figkt the dead., 
I can't fight the dead ! 

(Slowly Rosalie points at him. The Others stand 
and stare.) 

Rosalie. Go on, tell it. (Lower r. side of 
table R.) 

Mason. I had to do it. I was afraid Mr. Wales 
would know. 

Rosalie. You killed them both? 

Mason. Yes. 

Rosalie. Mr. Wales to prevent his finding- out 
about Spencer Lee? 

Mason. Yes. 

Rosalie. And Spencer Lee? 

('Will up r.c. above settee c.) 



104 THE THIRTEENTH CHAIR 

Mason. He ought to have been killed. I'd been 
waiting for years to kill him. 

Rosalie. Why ? 

Mason. That's between him and me. He 
smashed my life, and by God, I got him. He knows 
why I killed him, I told him I would. I'm glad I 
did. I only wish I could have done it over and 
over again. That's all. 

Rosalie. Why did you kill Spencer Lee? 

Mason. He took her away from me. She was 
the one thing in the world and he took her away 
from me. I went to Paris to forget and all I could 
do was to remember. Then she died, and I made 
up my mind that he must die, too. 

Donohue. How did you get the knife in the 
ceiling? 

Mason. I threw it. Just as I threw a knife 
into Spencer Lee's back. I stood in the doorw^ay of 
his room and told him I'd come to kill him, and he 
ran for his revolver, and as he ran I threw the knife 
into his back. Then I picked up my knife, and 
walked away. No one saw me. I was quite safe. 
Quite safe until she came. And unseen hands 
pushed me forward. Unseen hands have pointed 
the way. She's not human. Lee's message came 
through her — you all heard Whales speak ; out of 
her lips we heard Wales' voice. He said he'd come 
back, again and again and again. And then he 
came ! I saw him as he came through the door ! 
God Almighty, you can't fight the dead ! (He turns 
suddenly and walks to door L. As he opens it Ser- 
geant Dunn steps into the room.) 

DoNOHUE. That's your man, Sergeant. 

Dunn. (Putting his hand on Mason's arm) 
You got him? 

Donohue. Yes, I got him. 

Dunn. Great work, chief, great v/ork. (He 
takes Mason off down l.J ¥/A RN 



THE THIRTEENTH CHAIR 105 

f Helen crosses down to lower end of table r.) 

Rosalie. (As they disappear from view) The 
poor young fella, the poor young fella. 

DoNOHUE. Ladies and gentlemen, you are all 
quite at liberty. (He goes toivard door l.J 

Crosby. Thank you. Inspector, for your consid- 
eration. 

DoNOHUE. Not at all, it was the best way out 
of it. 

Rosalie. Inspector. (Coming below table R. to 

R.C.j 

DoNOHUE. (Half turning) Yes? 
Rosalie. My congratulations. 

(He looks at her for a moment, then turns back and 
shakes hands with her.) 

Donohue. You were quite right about me. I 
was a damn fool. (He exits at l.) 

(^ Helen coining below table r.) 

Mrs. Trent. (Turning to her father up l.c. 
with a cry) Oh, Daddy, Daddy! I lied about her. 
I lied about her. 

(^Crosby takes her in his arms, up l. Helen crosses 
to Rosalie from below table r.) 

Rosalie, (c.) There's nothing but happiness 
comin' to ye. The spirits tell me ye're the favorite 
child af fortune. You'll have v/ealth and prosperity 
and happiness. You'll marry the man ye love, and 
ye'U be happy 

CURTAIN 



ELECTRICIAN'S PLOT 

ACT I 

Foots full rose, ambers ^ at rise. Light switch 
down stage side of door down left. Hanging lamps, 
post lamps, table lamps, lit. Amber strip in door- 
way down left, lit. One light strip amber, in door- 
way R.c. and L.c. Two light strip amber, hung on 
fireplace backing. Two blue bunches outside window 
right, lit. Baby amber shooting across stage from 
window right. Baby amber striking mantel up cen- 
ter from window right. Amber baby down left at 
proscenium arch shooting across stage, lit. Blue 
baby focused to strike Rosalie in chair center from 
window right, OUT AT RISE. White frost spot 
in position outside of window right to strike ceiling 
on cue OUT AT RISE. 

1st Cue 

When Rosalie lifts table first time, sneak off baby 
down stage left, also baby from window right that 
starts across stage. 

2nd Cue 

After Pollock locks door down left, all entrance 
strips and baby down left, out. 

3rd Cue 

When Crosby pushes button, all foots out. Brack- 
106 



THE THIRTEENTH CHAIR 107 

ets out, lamp posts out. Amber babies at window 
right, out. At same time, white spotlight on ceil- 
ing, LIT. 

4th Cue 

When Will pulls chain on table lamp right end of 
settee, table lamp out. Two babies from window 
out. 

5th Cue 

When Crosby says "The reflection on the ceiling 
is too strong," Will pulls chain on table lamp right 
end of settee table lamp and two babies from win- 
dow right, LIT. 

6th Cue 

Will pulls down window shade, spot on ceiling and 
blue bunches OUT. Then when Will pulls chain 
on the table lamp right end of settee, table lamp, two 
babies outside window right, OUT. 

7th Cue 

When Crosby says "Lights, son," table lamp right 
end of settee, LIT. Two babies from window LIT. 
Amber foots 54 LIT. Bring on blue baby outside 
window right. 

8th Cue 

When Will pulls chain on table lamp right end of 
settee, table lamp^ two babies, amber foots, OUT, 
leaving blue spot, LIT. 



io8 THE THIRTEENTH CHAIR 

9th Cue 

When Crosby says "Lights, son," table lamp right 
end of settee, LIT ; two amber babies, LIT ; amber 
foots, ys LIT. 

NOTE: All house lights in front (Auditorium) 
must be OUT when Rosalie and ladies enter 
after Rosalie has been searched. This is very 
important. 

ACT II 

Amber foots, half up. Hanging brackets, lamp 
posts, table lamps, entrance strips, LIT. Amber 
baby down in left first entrance, LIT. Blue bunches 
outside of window right, LIT. Fireplace, LIT. 
Lights stand during this act. 

ACT III 

Everything OUT at RISE except amber strip and 
amber baby in left first entrance and blue bunches 
outside of window, right, which are LIT, 

1st Cue 

After prayer, Rosalie raises windowshade, white 
spot or knife in ceiling, LIT. 

2nd Cue 

Inspector pushes lights lit, amber foots ^, table 
lamps, brackets, post lights, LIT. 

NOTE : No lights in entrance r c, l.c. and fire- 
place. 



THE THIRTEENTH CHAIR 109 

3rd Cue 

Rosalie pushes light switch, foots, table lamps, 
brackets, post lights OUT. Spot on knife from out- 
side window right, LIT. 

4th Cue 

Pollock pushes light switch, amber foots, table 
lamps, brackets, post lights, LIT same as AT RISE. 
Spot on knife, OUT. 

5 th Cue 

Rosalie says "1 call on the spirit of Edward 
Wales," start to dim foots to ^. Must be down 
on word "look." x\s window shade flies up, spot or 
knife, LIT. As knife leaves ceiling spot OUT and 
amber foots, flash up, full. 



no THE THIRTEENTH CHAIR 

SCENE PLOT FOR ACT I 

Italian Room in Roscoe Crosby's home, New York. A hand- 
somely furnished square room. 1. Door opening on stage down 
L. 2. Door opening on stage at back l.c. 3. Door opening on 
stage R.c. 4. Large h replace c. at back. The fireplace with an- 
tique fire-dogs must be large enough for man to make an en- 
trance coming through chimney. 5. Large window over r. in 
arch. 6._ Platform one step high running full length of win- 
dow, which is three sashes long. Trick blind on centre pane. 
Curtains on pole on centre windows to work on cue. 7. Up c. 
in front of fireplace facing up stage, large chesterfield sofa two 
feet wide. 8. Facing audience another large chesterfield sofa, 
c, sofas back to back. 9. At each end of sofas small console 
tables. Console table at right end of sofa is the trick table 
which Rosalie lifts. On console tables at either end of sofa, 
table lamps. On console table left end of sofa, fancy cigarette 
box with cigarettes and match-box and ash-tra3\ 10. Right of 
the door, r.c, large antique Italian chest. 11. Left of door, 
L.c, large antique chest, ^^ases on chests. On flat over l. 
large tapestry. 12. Against wall over l, running up and down 
stage long ornate Italian chest. 13. At either end of this chest 
Italian lamps, seven feet high, standing on floor. Below door 
down l., on flat, an antique clock. 14. Below door down l., 
arm-chair. 15. Left side of fireplace chair with cushion seat. 
On mantel two large antique vases. 16. Right side of fireplace, 
chair wath cushion seat. IT. Large arm-chair. 18. Over right 
is a large librar}^ table sitting diagonally up and down stage. 
On table: book-rack with four books, desk-pad. stationery- 
holder with stationery, pens, pencils, ink-box. magazines. 19. 
Arm-chair back of table. 20. Chair below table. 21. Chair 
above table. 22. On platform in window arch, long seat. 23. 
Below window arch long arm-chair. 24. Large wall lanterns, 
on up stage and down stage, end of window arch. Plush 
valence or drapery for windows. Rugs on ground cloth. On 
flat right of doors up r.c small-sized, painted image of the 
Virgin. Interior backing for door down l., up l.c, and R.c 
Fireplace backing. Exterior backing for window over r. 35. 
Off stage down l. large Italian table with two bronze vases, 
and a shrine of the Virgin on it. Off stage r.c are eight small 
chairs, to be brought on stage on cue during First Act. In 
ceiling, directly over table r.. is a double slot to hold knives. 
During First Act, after Willl\m puts out table lamp, after 
Miss E.\stwood's scream, the knife in down stage slot is let 
down in sight of audience. Seen zvith point sticking in ceil- 
ing. Between Second and Third Acts, the knife that falls on 
cue, during Third Act, is placed up stage slot in ceiling, with 
point dov.^nwards. Setting the knife down in view of audience 
in First Act, as well as releasing the second knife so that it 
falls, and sticks in table during Third Act, is worked by 
strings off stage r. 



The Touch-Down 

A comedy in four acts, by Marion Short. 8 males, 6 females, but 
»ny number of characters can be introduced in the ensembles. Cos- 
tumes modern. One interior scene throxighout the play. Time, 2}4 
hours. 

This play, written for the use of clever amateurs, is the story of 
life in Siddell, a Pennsylvania co-educational college. It deals with 
the vicissitudes and final triumph of the Siddell Football Eleven, and 
the humorous and dramatic incidents connected therewith. 

"The Touch-Down" has the true varsity atmosphere, college songs 
are sung, and the piece is lively and entertaining throughout. High 
schools will make no mistake in producing this play. We strongly 
recommend it as a high-class and well-written comedy. 

Price, 30 Cents. 

Hurry, Hurry, Hurry 

A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. 
One interior scene. Costumes modern. Plays 25^ hours. 

The story is based on the will of an eccentric aunt. It stipulates 
that her pretty niece must be affianced before she is twenty-one, and 
married to her fiance within a year, if she is to get her spinster 
relative's million. Father has nice notions of honor and fails to tell 
daughter about the will, so that she may make her choice untram- 
meled by any other consideration than that of true love. The action 
all takes place in the evening the midnight of which will see her 
reach twenty-one. Time is therefore short, and it is hurry, hurry, 
hurry, if she is to become engaged and thus save her father from 
impending bankruptcy. 

The situations are intrinsically funny and the dialogue is sprightly. 
The characters are natural and unaffected and the action moves with 
a snap such as should be expected from its title. Price, 30 Cents. 

The Varsity Coach 

A three-act play of college life, by Marion Short, specially adapted 
to performance by amateurs or high school students. 5 males 6 
females, but any number of boys and girls may be introduced in the 
action of the play. Two settings necessary, a college boy's room and 
the university campus. Time, about 2 hours. 

Like many another college boy, "Bob" Selby, an all-round popular 
college man, becomes possessed of the idea that athletic prowess is 
more to be desired than scholarship. He is surprised in the midst of 
a "spread" in his room in Regatta week by a visit from his aunt 
who is putting him through college. Aunt Serena, "a lady of the old 
school and the dearest little woman in the whole world," has hastened 
to make this visit to her adored nephew under the mistaken impression 
that he is about to receive the Fellowes prize for scholarship. Her 
grief and chagrin when she learns that mstead of the prize Robert 
has received "a pink card," which is equivalent to suspension for poor 
scholarship, gives a touch of pathos to an otherwise jolly comedy of 
college life. How the repentant Robert more than redeems himself, 
carries off honors at the last, and in the end wins Ruth, the faithful 
little sweetheart of the "Prom" and the classroom, makes a story of 
dramatic interest and brings out very clearly certain phases of modern 
college life. There are several opportunities for the introduction of 
college songs and "stunts." Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUBL FRENCH, 28-30 West 38th Street. New York City 

Nnr aatf Explicit Oiscriptivt Catalogue (Nailed Free ei Requesl 



FRENCH'S 

Standard Library Edition 



Clyde Fitch 

William Gillette 

Augustus Thomas 

George Broadhurst 

Edward E. Kidder 

Percy MacKaye 

Sir Arthur Conan Doyle 

Louis N. Parker 

R. C. Carton 

Alfred Sutro 

Richard Harding Davis 

Sir Arthur W. Pinero 

Anthony Hope 

Oscar Wilde 

Haddon Chambers 

Jerome K. Jerome 

Cosmo Gordon Lennox 

H. V. Esmond 

Mark Swan 

Grace L. Fumiss 

Marguerite Merrington 

Hermann Sudermann 

Rida Johnson Young 

Arthur Law 

Rachel Crothers 

Martha Morton 

H. A. Du Souchet 



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Booth Tarkington 
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James Montgomery 
Wm. C. de Mille 
Roi Cooper Megrue 
Edward E. Rose 
Israel Zangwill 
Henry Bernstein 
Harold Brighouse 
C banning Pollock 
Harry Durant 
Winchell Smith 
Margaret Mayo 
Edward Peple 
A. E. W. Mason 
Charles Klein 
Henry Arthur Jones 
A. E. Thomas 
Fred. Ballard 
Cyril Harcourt 
Carlisle Moore 
Ernest Denny 
Laurence Housman 
Harry James Smith 
Edgar Selwyn 
Augustin McHugh 
Robert Housum 
Charles Kcnyon 
C. M. S. McLellan 



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